Open Doors Gallery

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Open Doors Gallery

Championing emerging photographic artists Founded in 2017, OPEN DOORS GALLERY is a global platform for contemporary photographic artists.

The gallery aims to give the world’s best emerging talent an opportunity to reach new audiences, and works with a very broad range of artists. From unique collage and sculptural artworks to dark room creations, landscapes, portrait and street artists. As well as representing the developing careers of several award winning photographic artists, OPEN DOORS believes in making art accessible, affordab

le and obtainable. We aim to surprise people by challenging what they believe photographic art to be whilst also respecting the more traditional photographic methods. Art is for all and our aim is to show art lovers that photography is the perfect medium to explore and to collect. Open Doors has a strong presence online () choosing to showcase a wide variety of styles from beyond our family of represented artists. Hoping to broaden people’s understanding of the medium. Whilst the digital side is important, we also believe wholeheartedly in the value of seeing and experiencing these artworks up close through our programme of exhibitions and art fairs that we host and participate in throughout the year.

24/04/2026

Claudia Corrent | All’ombra simile o al sogno

The title “In the Shadow, Like a Dream” draws inspiration from a verse from the Odyssey (XI, 207), in which Ulysses, having descended into Hades, encounters his mother’s shadow. Three times he tries to embrace her, but she escapes: no longer earthly, but like a dream, ethereal and intangible.

The episode becomes the central metaphor of this project, which explores the fragility of images suspended between dream and waking, between visible and invisible, in that latent moment between the end of the night and the beginning of the day, when images are imprinted on the memory and sensations persist throughout waking life.

The construction of the photographs reflects this layered nature of the dream: the images emerge from chemigrams created in the darkroom, where light, chemistry, and chance generate shadows, abrasions, and material traces. These are interwoven with my photographs and others from online archives, introducing archetypes and fragments of the collective imagination.

The project thus delves into that intimate and opaque space that precedes awakening: a time in which images, still unstable, remain suspended for an instant in consciousness before dissolving, leaving only a trace.

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This series was Longlisted for the OD Photo Prize, which receives over 1,000 submissions each year from photographic artists around the world. We open for submissions again in June 🗳️.

21/04/2026

Perhaps her most famous image. L’homme qui court, 1953 [The running man, above], photographed at the foot of the Garigliano Bridge in Paris. The running figure was her husband, the American painter Hugh Weiss.

Sabine Weiss [1924-2021] was born in Switzerland and moved to Paris in 1946 to apprentice under fashion photographer W***y Maywald. He taught her that natural light was a source of emotion... By 1952, a chance meeting with Robert Doisneau opened doors. She joined the Rapho agency and signed a nine-year contract with Vogue. But unlike many of her peers, Weiss worked in both worlds without conflict. She photographed Dior’s first show, celebrities, musicians, and the streets of Paris with equal grace. Stravinsky, Giacometti and Chanel all sat for her. As well as anonymous street characters. Often labelled the last of the humanists.

“What moves me in life is the loneliness of people.”

Her work was selected by Edward Steichen for The Family of Man in 1955, a photography exhibition at the Museum of Modern Art (MoMA) in New York seen by nine million people worldwide. She continued working for sixty years, moving between fashion, advertising, reportage and street photography

The fifth in our series, sharing the photographers who shaped the medium.

© Sabine Weiss

18/04/2026

Marco Rapaccini | Untitled no.35 [Bird III], 2026

Artwork info…

101x73cm [9.2x6.4cm each]
100 unique hand toned cyanotype prints on Fabriano paper
Signed by the artist

DM for availability and to see a preview of the work we will be exhibiting.

Marco Rapaccini [b.1982] is an Italian photographic artist based in Rome whose practice explores the interplay between memory, place, and the passage of time. Drawing inspiration from both classical and contemporary influences, Rapaccini’s images balance documentary precision with a poetic sensibility.

Artist .rapaccini

See more work from this ongoing ‘Litorali series’ via our website or explore more on

14/04/2026

Josef Koudelka [b.1938, Czechoslovakia] trained as an aeronautical engineer but began photographing Romani people, their everyday lives, their struggles, and their traditions. Mainly in central European countries in the early 1960s, later committing to photography full-time that decade. In 1968, he photographed the Soviet invasion of Prague, publishing his work under the initials P.P. (Prague photographer). Koudelka, who was anonymously received the Overseas Press Club’s Robert Capa Gold Medal for those photographs, sought political asylum in England in 1970 with assistance from the Magnum Photos cooperative. His first book, Gypsies, was released by Aperture in 1975, and he has since produced more than a dozen publications of his work.

Koudelka travelled with a rucksack and a sleeping bag, never staying anywhere longer than three months. His subjects were the marginalized, the displaced, the overlooked. Festivals, funerals, wastelands, borders, ruins. The human spirit inside dark landscapes.

“What matters most to me is to take photographs; to continue taking them and not to repeat myself. To go further, to go as far as I can.” – Josef Koudelka

Koudelka worked alongside Letizia Battaglia [another photographer shared here as an recently] in Palermo in the late 1970s. According to her grandchildren, he taught her how to ‘read a photograph’.

The fourth in our series, sharing the photographers who shaped the medium.

© Josef Koudelka / Magnum Photos

10/04/2026

Mustafah Abdulaziz | Water pump for 800 people. Osukputu, Nigeria, 2015

Mustafah Abdulaziz’s Water is an expansive, long-form photographic project which began in 2011 with backing from organizations like the UN, WaterAid, Earthwatch, and WWF. Over a planned 15 years and 32 countries, he documents humanity’s multifaceted relationship with water, ranging from scarcity in Somalia and Nigeria to abundant river basins in Brazil, the Ganges in India, the Yangtze in China, and arid landscapes like California’s deserts.

Mustafah goes to extraordinary lengths to capture images that both inform us and document this climate catastrophe we are witnessing all around us. Through large-format film images, taken from the ground and the air, Abdulaziz juxtaposes intimate human interactions, ritual bathing, fishing, day-to-day usage, with industrial and environmental contexts, prompting reflection on access, pollution, control, and cultural significance.

Available in two sizes
190 x 150 cm | Edition 2/2 [+2AP]
109 x 93 cm | Edition 1/5 [+2AP]

Images in slideshow
Coastal erosion due to climate change. Terrebonne Parish, Louisiana, USA, 2018
Black plastic shade balls. Los Angeles Reservoir, California, 2015
Pantanal, Brazil, 2015
No.1 Hurricane Michael aftermath. Mexico Beach, Florida, USA, 2018

DM for availability
Follow the links to explore more

07/04/2026

The photographic series ‘Impressionism‘ by Jonathan Bertin explores color and motion through the landscape of Normandy. Inspired by the Impressionist painters who worked in the same region, the images offer poetic, suspended moments, ambiguous in time, evoking both the 19th century and a fleeting present.

“I am drawn to images that surprise me, those that resist immediate understanding and reveal themselves over time, inviting you to look again and again.”

Born in Normandy in 1996 and now based in Paris, Bertin defines himself as a photographer of the “ultra-ordinary.” Trained in visual arts, he works across both digital and analog processes, producing all prints by hand in the darkroom.

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This series was Longlisted for the OD Photo Prize, which receives over 1,000 submissions each year from photographers around the world. We open for submissions again in June 🗳️.

02/04/2026

The bank holiday weekend can’t come soon enough. Let’s take a look at the absurdity of office life through Lars Tunbjörk’s iconic lens.

Lars Tunbjörk’s Office (2001) transformed everyday corporate environments into something quietly absurd and deeply human. Photographing workplaces across Stockholm, New York and Tokyo, he captured fluorescent lighting, cluttered desks, muted colours, and moments of awkward stillness, finding beauty in the banal.

“The pictures are about how we live and work, and the strange environments we create for ourselves... I’m interested in the absurdity of everyday life.”

Tunbjörk’s images balance humour and melancholy, revealing the choreography of modern work life. His use of colour, composition, and timing helped define a generation of photographers exploring the banal, the constructed, and the strangely poetic. The series remains one of the most influential photographic studies of office culture.

The series on , sharing the photographers who shaped the medium.

Who should we feature next? Drop a name below.

© Lars Tunbjörk

29/03/2026

The Attachment Theory asks what stays with us and why. It won the FE+SK Award at Fotografia Europea and was published by Skinnerboox.

Jacopo Papucci [b.1995, Pisa] trained as a nurse and worked in the UK before returning to Italy to study documentary photography. The Attachment Theory is a visual and intimate journey through pain, memory and identity, rooted in personal loss and the questions that followed.

The work moves between documentary and personal reflection, weaving together encounters, fragments of family archive and inner landscapes. It explores how childhood experiences settle over time, reshaping the narrative of who we are. It is intimate and at times uncomfortable.

Balancing between reality and possibility, between loss and reconstruction, the images function as notes, residues, belated thoughts. There is space left for the viewer to find their own meaning.

The Attachment Theory won the FE+SK Award at in 2025 and was published by .

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Jacopo was Longlisted for OD Photo Prize 2025

20/03/2026

Open Doors Gallery is excited to be participating in Art Rotterdam 2026, presenting a solo booth of new unique works from Berlin based artist duo Wysocka / Pogo, including work from their brand new series Artefacts.

The Artefacts series turns to the idea of the artefact itself: not as a stable object recovered from history, but as something far more unstable: a fragment, a trace, a distortion, a residue of human desire to know and to measure. Conventionally, an artefact is an object shaped by human hands, bearing the weight of cultural or historical meaning. Yet in photography, it is also the opposite: an unwanted mark, a glitch, a shift from clarity.

Ultimately, Artefacts suggests that photography has always carried an archaeological quality. Every image is already a fragment of time. Wysocka / Pogo gather, displace, and rematerialise, producing an atlas without coordinates. A reminder that every attempt to understand the world leaves traces behind, and that these traces may tell us as much about ourselves as about the realities they once sought to describe.

All artworks are unique, custom risographs, printing oil on raw canvas. Each are then stretched and framed by the artists.

The presentation forms part of the newly created section, curated by , supporting experimental and emerging artistic voices.

, 2026
Booth J17 • 27—29 March
Rotterdam Ahoy Arena

For all tickets or availability, contact:
[email protected]

Artists .magdalena &

18/03/2026

The Mafia told her to leave Palermo. She stayed for 20 years and photographed everything they did.

Letizia Battaglia (1935–2022) spent two decades as photography director of L’Ora, Palermo’s left-wing daily newspaper. She or one of her colleagues was present at every major crime scene in the city during the bloodiest years of Cosa Nostra. In some periods there were two killings a week.

But Battaglia was never just a crime photographer. She photographed children playing in crumbling streets, lovers on Mondello beach, religious processions, poverty, celebration, and the quiet resilience of a city living under siege. Her images sit between violence and tenderness. That tension is what makes the work extraordinary.

The Mafia sent her a typed letter in 1982. It read: “Dearest Signora Letizia, you have not just taken the listed photographs, but you have also had them published. The advice we can give you is to leave Palermo immediately. With your way of doing things, you have broken our balls too much.” She stayed. She was elected to the city council. She helped bring convictions against 474 members of mafia clans. She kept taking pictures until she died.

Who caught the recent retrospective at The Photographers’ Gallery in London?

The series on , sharing the photographers who shaped the medium.

Who should we feature next? Drop a name below.

© Archivio Letizia Battaglia

15/03/2026

No More, No Less is a collaboration between Kensuke Koike and Thomas Sauvin, built from anonymous studio portraits found in an album of photographs taken by a Shanghai photography student in the early 1980s.

Working with the original prints, Koike cuts and rearranges each photograph according to a single rule: nothing may be added and nothing may be removed. Every transformation comes entirely from the image itself. A face folds into a new geometry, a gesture doubles back on itself, a portrait becomes something quietly surreal while all of its original parts remain present.

What begins as a straightforward studio portrait gradually reveals the hidden possibilities already contained within the photograph. Each work is less an alteration than a reconfiguration, where the familiar logic of the image is carefully unsettled.

Kensuke Koike [Japan, 1980] is known for his precise analogue interventions into found photographs. Thomas Sauvin [France, 1977] is the founder of the Beijing Silvermine archive, a vast collection of vernacular photographs rescued from recycling markets in China. No More, No Less brings their practices together through a shared fascination with the latent life of images.

Which one stopped you?

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vernacularphotography opendoorsgallery

13/03/2026

Oddments is a photographic project by Gael del Río and Luca Bani that grew out of fragments usually discarded during the darkroom printing process. While making prints, photographers produce test strips, cropped exposures and annotated experiments in order to arrive at the final image. Instead of throwing these pieces away, del Río and Bani began to keep them. Over time they realised that these technical by-products contained unexpected images of their own, where small changes in framing or exposure revealed compositions neither of them had consciously intended.

Returning to the growing pile of fragments, the photographers noticed quiet relationships emerging between images made in different places, moments and projects. Removed from their original context, architectural details, bodies and landscapes began to echo one another through shifts in scale and form. Oddments brings together these overlooked pieces of photographic process as a series in their own right.

Originally trained as architects, Gael del Río [Barcelona, 1990] and Luca Bani [Pisa, 1982] now work professionally as architectural photographers while developing artistic projects together and individually. All of their prints are produced by hand in the darkroom.

Which image stopped you?

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This series was Longlisted for the OD Photo Prize, which receives over 1000 submissions each year from photographers around the world. We open for submissions again in June 🗳️

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http://www.opendoors.gallery/

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