Mariz Nigro’s (b. 1990, Argentina) work unravels the shifting boundaries of identity, memory, and place, reflecting the tension of living between two worlds. As an Argentinian in the UK, she explores her own duality and the erosion of clear distinctions—between past and present, history and embodiment, magical thinking and the rational. Her work moves through the hazy space where nostalgia distorts, where distance sharpens and softens perspective in equal measure.

Influenced by the language of film, personal recollections, and the natural world, Mariz Nigro constructs atmospheric narratives that feel both intimate and unplaceable. Figures emerge within dreamlike spaces, caught between the familiar and the uncanny, as if suspended in a story just beyond reach. Her images invite the viewer to linger in this ambiguity, to navigate the thresholds between what is remembered, what is imagined, and what is real.

Mariz works across a range of media, primarily water-based, layering bold, expressive strokes with delicate areas of intricate detail. Her colour spills beyond the lines, mirroring her own dual identity—fluid, uncontained, existing in more than one place at once. The poignancy of her colour compositions challenges realism, shifting hues away from strict accuracy without disrupting the emotional weight of the scene. This delicate subversion heightens the dreamlike quality of her work while keeping it tethered to reality, as if viewed through the lens of memory. A quiet unease lingers in her compositions, drawing the viewer into a space where something has just happened—or is just about to.

In “This Monstrous Longing”, Mariz Nigro delves into the overwhelming emotions of displacement and the feeling of never quite belonging—an echo of her fragmented immigrant experience. Like the monsters of classic cinema, her homesickness and longing take on a life of their own, untethered from natural laws, corroding her memories and unraveling her present reality.

Her narrative pieces invite the viewer into an intimate inner world, shaped by layered symbolism: a fusion of her South American heritage, British landscapes, and the imagery of popular culture. This rich visual language explores the materiality of fabric—both literal and metaphorical—through intricate prints, patterns, and solar-sensitive dyes, evoking her love for theatre, early film costume design, and the emotional textures of migration and memory.

Feminine energy pulses through the work, reclaiming spaces long defined by the macho-coded male gaze of her past. Yet a quiet darkness persists: identities blur, and the figures that emerge exist in a space of existential uncertainty—just a second away, perhaps, from disappearing forever.

Kasia Wozniak is an artist whose work investigates the tangibility of the photograph and how we view photographs today. Using predominantly the wet plate collodion technique, she interrogates ‘truth’ in photography and questions how we experience the time present and time past.

Working with the analogue enables Wozniak to stretch and distort the experience of time. While using long exposures, laborious darkroom experimentations and manipulations she explores the idea of approximation, moving away from veracity to something more liminal. Each anomaly is present and exposed on the surface of the created photograph. 
Simultaneously, she is passionate about the craft in photography and the necessity of its preservation.
Kasia’s work spreads across various personal projects, collaborations as well as commercial commissions. She is currently doing a residency at the Sarabande Foundation in London.

Archival C-Type prints from Unique Chromogenic Image

The series “ANEMOIA” is an ongoing series of photographic portraits of flowers. They explore the feeling of nostalgia for a time or place one has never experienced. Each portrait is captured with a large format camera and photographed directly on colour photographic paper, involving a long exposure to capture the ephemeral beauty and timeless essence of the flowers.

The flowers captured in these portraits have been lovingly nurtured by Camilla Shivarg in her Buckinghamshire cottage garden.

Kasia Wozniak is a photographer who specialises in the Wet Plate Collodion process.

The Wet Plate Collodion process is one of the first photography techniques, dating back to the beginning of the nineteenth century. The photograph is an outcome of a photographic ceremony, starting with the preparation of chemical solutions, pouring the negative solution onto the glass plate, which is then placed in the camera and exposed to the subject, the ceremony ends with developing the image in the darkroom. The fixed plate then becomes a hand crafted photograph.

Kasia is fascinated by the idea of creating a photographic image that is permanent and fragile, encapsulating the bespoke element of the photograph created once and only once, in the moment never to be repeated. Simultaneously, she is concerned with the relationship between photographer, sitter and the viewer. Her work questions the authenticity of the image and how we view photographs today. Intrigued by how the photographic image can become an object in its own right in the age of digital image making.
Born in Poland 1983, lives and works in London.