Each month, we feature twenty emerging artists who are among the paid members of Compositionally Inclined.
This month's edit pulls the strongest visuals from each submission we received. The projects range widely in approach and medium, each one chosen for how it reads alongside what we publish across the platform.
An Attempt To Reveal by Marichka
This series explores the artist’s relationship with how they see themselves, and how that change is difficult to accept.
The inverted color treatment and texture bring a much darker tone to the project than a typical black-and-white photo. The emotion of the artist reads as reflective and somber as she comes to terms with the changes associated with growing older as a young adult.
See more of Marichka’s work here.
Mexico City by Jackson Coster
Coster started photography during the summer of 2025. He shoots on a Kodak M38, a fixed-lens reusable film camera bought on impulse from a shop window in Rome.
The fixed lens exposes the whole frame evenly rather than directing the eye, and the flash is forgiving, so little goes wrong.
See more of Coster’s work here.
Fluke by Florence De Bock
The series was photographed over a year of humanitarian deployments in the mountains of Mozambique and Sudan. An unexpected camera malfunction, caused by water infiltration from heavy rain, shaped the visual language throughout the series.
Frames layer over each other, taking what was a complete image and juxtaposing it with intense effects. On the trip, De Bock photographed ordinary life in the region rather than the crisis around it. The subjects hold steady while the film dissolves, reflecting the underlying turmoil of the trips rather than the lives being photographed.
More of De Bock’s work here.
The Pinkest Collection by Collin McMinn
McMinn photographed a block of pink-painted apartments in downtown St. Petersburg, Florida, slated for demolition.
The color runs past the buildings and onto everything near them. McMinn documents the contrast these apartments represent in a young, growing city surrounded by development.
See McMinn’s work on his Instagram.
Bella by Kenneth Kirk
This project was conceived as a test shoot at the Branch Museum of Design in Richmond, Virginia, where the architecture and the shifting window light of the building set the tone of the images. An accompanying behind-the-scenes video follows the shoot as it happens and shows glimpses of Kirk’s process.
The clip showcases what a set looks like in a building this old, where the heritage shapes every decision.
More from Kirk on his website.
Submissions for October’s edition are open exclusively to members. Limited to 20 artists each month. Spots fill in order.
Nepal by Josie Armstrong
Armstrong documents her experience through the Himalayas in Nepal on a Pentax MZ-5n. In these photos specifically, she has captured intimate moments complemented by the landscape.
The landscape reads first and the people second. Armstrong captures moments that would otherwise go unnoticed, and film means each one only exists a single time.
More of Armstrong’s work here.
Creatures of Physical Shells by Yana Kuzu
Kuzu works in black and white across subjects that share no obvious category. She explores connection as something that exists before it takes physical form, and how physical space is actually what constrains it.
Kuzu works with a stripped-down tonal range and no dramatic light. The images read as a set of encounters rather than a documentary record.
More of Kuzu’s work here.
Don’t Blink by Nour Elamroussi
This series comes out of a premise about attention: most people spend their time thinking about what's ahead of them, and they stop registering what's already in front of them. The work is a set of ordinary places, photographed as encountered.
Nothing is staged, and nothing is elevated. The work asks for a second look at places that don’t ordinarily get one.
See more of the project here.
Photography by Dylan Barrow
Barrow is a photographer based in Bristol, focused on human expression. He uses emotion, thought, and personality as his subject rather than the setting. He describes his eye and his lens as equals, and the images as arriving the way he saw them in person.
The work is shot close and at unorthodox angles, with a lens that distorts his subjects. The distortion is what carries the personality, with the subjects presented as they behaved, not as they were arranged.
See more of Barrow’s work on his Instagram.
Women in Spaces by Ella Brooke Withrow
Withrow is a 21-year-old photographer and filmmaker. In this project, the subjects are friends, styled and positioned according to what she envisions, then left to move on their own.
The staging is deliberate, but her friends are left to operate on their own, with the result reading as organic rather than formulaic.
See more of Withrow’s work here.
Submissions for October’s edition are open exclusively to members. Limited to 20 artists each month. Spots fill in order.
Anatomy of Desire by Anuka Katsiashvili
Katsiashvili shot this series on black-and-white film, hand-developing every roll in the darkroom. The work explores bodily form and femininity, staged with lace, pearls, and skin against hard geometric lines.
The pictures are printed without correction, so the grain and tonal range come through as the film recorded them.
See more of Katsiashvili’s work here.
Self Discovery by Des Deed
Deed describes the work as a way of self-discovery through the camera, drawn to stillness and nuance in the subjects.
The collection is assembled by feel rather than a specific subject, held together by a consistent aesthetic across the images. The shots display Deed’s visual style and preferences when shooting.
More of Deed’s work here.
To Run and Be Caught by Hwiso Lee
This series was created for an album, which centered on separation, fear, and depression. The work takes its visual language from film stills.
The photographs are arranged to read in sequence, carrying the narrative between them rather than inside any one image.
See more of Lee’s work here.
BlindSpot by Ivan Konorov
This series follows a young couple living on the road. Konorov photographs them in black and white, in and around the vehicle they travel in.
The couple is photographed in an intimate environment, with the road they cross treated as a circumstance rather than the subject of the project. The images are built from inside this unusual arrangement.
See more of Konorov’s work on his Instagram.
Photography by RiGS
RiGS is a photographer based in Los Angeles who has been practicing photography for a little over two years.
In these shots, the figures are not the subject, and instead their surrounding conditions are emphasized. A particular moodiness is a recurring theme across his work, a visual style that can only be captured at night.
More of RiGS’ work here.
Submissions for October’s edition are open exclusively to members. Limited to 20 artists each month. Spots fill in order.
Destined for Avalon by Olly Wright
Wright photographed the Cornish landscape through the sites attached to the King Arthur stories, beginning at the cliffs around Tintagel Castle. Shot on a fully mechanical medium-format Hasselblad, carried with a tripod across the terrain on foot.
The series sits between physical landscape and the imagined one. The camera records its terrain, but what the sites carry is centuries of narrative, and the series captures both.
See more of Wright’s work here.
Coyote Creek by Olivia Han
Han is an artist and designer from California working across printmaking and needlework. Her subjects come from her own memories of growing up, and her work documents how people behave toward each other.
The print works in blue and yellow, with the two inks mixing across the design. Since it’s a relief print, the linework is cut rather than drawn.
See more of Han’s work here.
Photography by Mani Cresswell
These images come from Cresswell’s first two months of photography. Cresswell works by experiment rather than instruction, learning the process by testing it.
These shots are a record of that testing. Cresswell develops a consistent approach across his work, using black and white film to document what’s in front of him.
More of Cresswell’s work on his Instagram.
Playing with Colors by Larnelle Ankunda
Ankunda's use of color comes from film rather than photography. He works in a warm, saturated palette, photographing the youth around him.
Ankunda controls each element in the frame, from location to wardrobe. Fashion also plays a large part in his process. Clothing allows his subjects to say something about themselves without being asked to.
More of Ankunda’s work here.
FORM II by Jesse Buecken
This visual series explores the relationship between the human body and shape, and how the body adapts to forms. This second installment of the series is performed by Ahmet Kurt Feyzi in a sixteen-minute short film.
Throughout the film, the performer moves through a forest at varying speeds, with the trees setting the limits of where the body can go.
See the full film here, and see more of Buecken’s work here.
Thank you to every artist who submitted work for this month’s edition.
Submissions for October’s edition are now open.
Exclusively for paid subscribers. Paid membership includes priority consideration for a standalone feature across Composition’s full audience.
Join today to become a part of our community, alongside some of the world’s most talented creatives.
Spots are limited to 20 artists each month.
Thanks for having me ✌️
so excited to be included in this months edition!