Every month, we spotlight emerging artists submitted by Compositionally Inclined’s paid members.
Below are the strongest images from each submission, selected through Composition’s eye. The selection covers a wide range of projects, and each image was picked to fit the visual world we build across the platform.
Through Youthful Eyes by Miranda Grundy
This is a series that Grundy approached with the intent to make whimsy and wonder more durable. Taken during events and nightlife around New England, the project took shape around the desire to see the world through the innocent and naive lens of a child.
She focuses on instances of play and togetherness, with images displaying the connection and joy around these scenes. Her choice of subjects reflects the perspective one may have if they were viewing the world for the first time.
See more of Grundy’s work here.
Business as Usual by Fehinti Oluseye
This campaign is for Oluseye’s clothing brand MyFendetta, shot by Fiyin, a photographer in Washington, DC. The lookbook explores the question: if the culture surrounding work has changed, why has formalwear remained largely the same?
The campaign centers on the brand’s flagship garment: The Hooded Button Up. This piece uniquely blends streetwear and formalwear, balancing two opposing styles into a garment that can be worn in a range of settings. The campaign draws on 1980s office culture to highlight this versatility, creatively solving a problem unique to modern work environments.
See MyFendetta’s catalog here and on their Instagram.
Isolata Santa by Lorenzo Moretti
This selection is part of a larger project in which Moretti and his friends journeyed through the paths and forests of the Tuscan mountains. This set documents crossing the fog of Isola Santa.
These photographs capture the fog and mist of this area and the implied treacherousness of this expedition. The colors of the leaves contrast with the texture of concrete and buildings to create an intense depiction of the conditions on the day these photos were taken.
See more of Moretti’s work here.
Academic Strangers by Kunwoo Kim
Kim approached this series as he entered a new semester at the Royal Academy of Art, in The Hague, known among students as the monster den. He captures his new classmates’ unfamiliar faces in a dark room.
These portraits capture the uneasiness associated with a new season of classes within the academic setting. The pressure that arises toward the beginning of a new semester is thoroughly showcased here, with Kim’s rendering of these characters.
See more of Kim’s work on his website.
Illustrations by Jane Birch
Birch is a 24-year-old self-taught graphite artist based in Chicago, whose drawings are narrative and often satirical, exploring themes of eroticism, disgust, and human arrogance.
In these pieces, photorealistic figures share the page with flat line work, silhouettes, and handwritten passages, with areas left as bare paper or visible underdrawing. Birch has described her process as “unlocking secret parts of her mind” as she works, with these depictions examining taboo themes that are typically hidden through the conscious, filtered state she typically occupies.
More of Birch’s work on her gallery site here.
Submissions for November’s edition are open exclusively to members. Limited to 20 artists each month. Spots fill in order.
Sun Bleached by Rachel Villagomez
This photo set captures the rural summer landscape of land in central Texas. Pictured are power lines arching over vast fields, striking a contrast between nature and infrastructure.
Villagomez shows the vast landscape of the American South, where sprawling land coexists with the effects of human civilization. The series of towers spans what appears to be dozens, possibly even hundreds, of miles, leaving the viewer to see the power of man’s ability to erect these massive structures.
See more of Villagomez’ work on her Instagram.
Complexity is Alien to Me by Morayo Alimi
This is a concept shoot about the overload of media and information. Through this project, Alimi rejects this idea by answering mental clutter with simplicity.
The shoot uses restrained elements and tones to further the argument of the concept by using a white room and a single figure. This restraint leads the viewer to feel something more relieving, as opposed to the chaotic and stimulating nature of consumption that we experience through the current media environment.
See more of Alimi’s work here.
Ditto by Taliya Gomez
Gomez photographs her grandparents, married for 53 years, and the only example of a healthy relationship she saw growing up in a household where her parents' marriage had broken down.
The series honors her grandparents by creating an intimate display that amplifies the tenderness that holds in their relationship. She credits this relationship as part of the foundation that shaped her as she grew up.
See more of her work here.
Who I Know Myself to Be by Gael Castellanos
This is a charcoal drawing that shows one portrait twice, side by side. The left version is built from controlled line and detail. The right is made with the fingers and worked for feeling rather than likeness.
Castellanos made the right-hand portrait by hand to feel through it, rather than make it recognizable. The process mirrors his thinking behind the piece: to feel one’s identity instead of defining it.
See more of Castellanos’ work here.
Submissions for November’s edition are open exclusively to members. Limited to 20 artists each month. Spots fill in order.
Something to Do by Evangelyn Lopez
The project began in 2023 on a family trip to Orlando, when Lopez was looking for something to do and set up a contest to see who could take the best pictures. Lopez didn't win, but kept shooting, and the series now covers three years of pictures made across the United States, Mexico, and Colombia.
The pictures come from walks and slow days, with no subject ruled out for being too ordinary. She photographs whatever is in front of the camera and looks for what is worth keeping in it.
See more of her work on her Instagram.
What a Man Is by Ava Christensen
This series started as an exchange between Christensen and her boyfriend, who is a musician. They agreed to set each other a project every month as a source of inspiration. The agreement grew past that assignment into a portrait of Christensen’s boyfriend and into a more expanded exploration.
She photographs him through the things she compares him to: his guitar, a waterfall, barbed wire. The work makes no claim about men in general. It describes one person Christensen keeps coming back to and feels safe with.
More of her work here.
Office Hell by Zuzu Hill
Hill began working as a photographer for the Design Museum of Chicago in August. He started exploring its abandoned floors of their office building, which were once commercial offices and a bank, and photographed them using only his camera's flash.
The pictures show the objects the businesses that once used the space left behind. Hill made up stories about the former occupants as he worked, and the series questions whether these spaces are eerier with people in them or without.
More of Hill’s work on his website here.
Photography by Julia Fryca
Fryca captures photos taken from landscapes, views, and the people around her, throughout the UK and rural Poland.
Both selections show summer swimming spots, with the location carrying as much weight as the figures.
See more of Fryca’s work here.
Photography by Phoebe Krebs
Krebs is a fashion photographer based in NYC. She uses documentary-style image-making in the context of editorial photoshoots.
Krebs shoots in hard daylight, with strong color and subjects caught mid-gesture or at ease, not formally posed. The relaxed nature of her subjects is what gives the editorial work its documentary feel.
See more of her work on her site here.
Submissions for November’s edition are open exclusively to members. Limited to 20 artists each month. Spots fill in order.
Colossal Youth by Sila Yalazan
This ongoing series explores how friendships shift in unsettled times. Made in London, it follows young adults from different backgrounds whom Yalazan has crossed paths with as they navigate the uncertainty of the city.
The series moves between open residential rooftops and close interiors; subjects are absorbed in what they are doing, not posing for the camera, building a bridge into the minds of young adults during an unfamiliar time.
See more of Yalazan’s work on her portfolio site.
Is This It? by Andrew Waller
Waller is an amphibious first responder who lives near the ocean and takes photos when there is time, usually on the run. He has little patience for the newer wave of Southern California beach culture and looks instead to the generation before it: the people who sat in pickup trucks with black coffee and cigarettes.
Both pictures are taken from inside the water, at swimmers' eye level, putting you there with him. The light is grey or fading, and the edges are rough, which fits the nature of his approach.
Waller writes about his experience transitioning from the film industry to his current occupation on his Substack.
So it Doesn’t Spill by Heather Bloomfield
This series turns feelings Bloomfield can't put into words into photographs. It explores the idea that claustrophobia is something that can be felt not only in the body, but also inside a room.
Her subjects are bent into awkward, unnatural positions that look uncomfortable to hold. They are shot from above against plain surfaces with their faces turned down or hidden, so the strangeness of the pose is the first thing you notice.
More of Bloomfield’s work on her portfolio site.
ACHE by Ib Mundi
This is a project centered around identity, isolation, vulnerability, and survival. Mundi photographs the emotions people carry but don’t like to show, and the gap between what they let others see and what they hold back.
The portraits are staged in a cluttered room, with firearms that allude to self-defense. The expressions of the character show wary and tired, emphasizing the gap between the emotions displayed and what is actually occurring in the subject’s mind.
More of Mundi’s work on his Instagram.
1321 Thriftwood Drive by Joseph Brockwell
In this series, Brockwell explores an abandoned home of what appears to be a former hoarder.
Brockwell works with the natural light already in the rooms and leaves the clutter as he finds it. With no people in frame, the things left behind stand in for whoever lived there previously.
See more of Brockwell’s work on his website.
Thank you to every artist who submitted work for this month’s edition.
Submissions for November’s edition are now open.
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Spots are limited to 20 artists each month.
awesome images!