Photo Talent Contest II


  1. Photo

This is our second contest and we are so happy with all your participation. We were totally overwhelmed with the quantity and quality of the good work you sent us, but we had to choose only 3 winners. We are pleased to announce Chiara Cappetta as the first prize winner whose work will adorn our printed issue 5 next month, Anna Broujean is second and Phoebe Kiely third. We have asked each on of them a few questions and you can see their amazing photographs above.


Chiara Cappetta

Her name is Chiara, She is 20, she comes from Italy and she lives in Bologna. Chiara studies Communication at the University of Bologna. She started taking pictures when my uncle gave her her first camera at the age of 10. She’s been self-taught since then. She is not very good with words, so she uses photography as her main form of communication. In January 2016 she acquired her first analogue camera and since then, almost all her photos are shot in analogue. She feels the imperfection of film relates more closely to her.Chiara Cappetta - Croco Magazine5

Chiara tells us some info about her work:

Through my work I try to represent what’s in my mind.

For many years i mostly took self portraits; recently I gained courage and I crossed personal boundaries, focusing on projects that include more people. Currently I’m working on my vision of love, in the project “Alienation” (from which comes the picture of the two eyes); my love and amazement about nature (and in particular my favourite time of the day, deep night and the sunrise) in the project “Before the dawn” (The photo of me in the kitchen and the photos of Lorenza and Chiara in the bus) and my gratitude in being alive in my project “Sleep when you’re dead” (Chiara at luna park).

I’m very grateful for this opportunity to share my work with other people, because this is what art is to me: the sharing of emotions.

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Anna Broujean

Born in 1987 in Paris, Anna Broujean graduated from the French National School of Photography in 2015. Multifarious artist, her work is stamped with humor and mixes several mediums such as photography, text, sound, sculpture and installation. Kitsch lover, compulsive image collector, personal and institutional experience have give rise to an inexhaustible library of stories. Part of the 59th Salon de Montrouge (France) in 2014, her work has been amongst others shown in Marseille, Paris, London, Berlin, Montreal and Shanghai. Winner of the Roederer prize at the Planche Contact festival in 2015, she’s been welcomed in artistic residencies in France, Canada and China. She currently lives in Athens, Greece. After graduating from the French National School of Photography, She spent six months in Shanghai in an artist residency.Anna broujean - Croco Magazine_02

Anna tells us some info about The Shanghai Chronicles:

Here, you can eat duck heads with pre-dinner drinks and wear pyjamas during the day. Here, monks play on their smartphones hidden in sleeves while you play dice in night clubs. Here, you gather at the crack of dawn to practice your  Tai  Chi and at dusk dance to techno music. Five choreographies the whole country knows by heart. Here, your job is to wait at the bottom of an escalator to avoid that, absorbed in their selfies, customers would fall.  Here, you build Romanesque churches in cardboard cutouts to pretend like you’re in Paris and a hot pink Jesus completely stretched out is represented in the plastic stained-glass windows.

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Phoebe Kiely

Phoebe Kiely - Croco Magazine

Ingoldsby was the village where Kiely grew up. Art was always a part of her life, photography was introduced at around the age of 13. Longing for a life in the city, she started university at the age of 21. In 2015 she graduated from Manchester School of Art. Her life has influenced her work and her work has in tern influenced her life and her decisions.

From a young age Kiely felt her visual language change and felt a shift in how she looked at the world. Kiely longs for people to never fully understand her work. Never wanting it to be labelled as a genre, she wishes her work to be everything that she sees committed to paper. It holds important moments, the memories she never wants to forget and the memories she does not want to remember.

Throughout university and beyond Kiely created darkroom prints. From seeing the photograph, to taking the photograph, processing and then printing allows Kiely absolute control. The darkroom element of the work is important. Laying out the prints to dry, analysing them after each printing day. Watching the paper dry, but not stay entirely flat. Every image is unique. No controls are taken down at the printing stage, allowing Kiely to never print an image exactly the same. The idea of reproduction of her work does not sit comfortably. She believes that committing her photographs to print she becomes more permanent.

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Phoebe  tells us some info about They Were My Landscape:
They Were My Landscape was a project I never thought I would title. It is an archive of moments. During university everyone was grappling for someone to find meaning in their work. From the beginning of university I found that working to the criteria for the course didn’t work for me a lot of the time. I found that the only work I could create that was meaningful to me was work was to create the work which I longed to keep. To not make work for the sake of making work, as so many of my peers did. To work instinctively and compulsively. Working solely with one type of film, one type of paper; it allowed everything to sit on an equal level, every image printed could be considered. Towards the end of the year I was forced to create an edit. Edits were never an easy thing for me in the beginning. It meant committing to a series which could change as soon as new work surfaced, which happens most days, it is an everlasting stream.Open Eye Gallery, Liverpool picked up on the work during my end of year show. It lead to an exhibition alongside five other artists. The premise of the exhibition was how ‘each of the six artists share a curiosity in exploring how we gather and make meaning of our experiences. When we choose to photograph a moment, perhaps we imagine looking at it again in the future…we make it part of our story.’Open Eye literally moulded part of the gallery to fit my work, they built a darkroom for my sole use. This allowed me to print compulsively for two months, an absolute luxury. The most interesting element of this was that I not only was able to create numerous pieces of work, I was able to continuously change the edit on the walls of the gallery.In essence the work is heavily documentary. The photos seem to document. However, it is the constructed edit which allows me even more control. It is also a secret, not everything is clear. It’s the story I was never able to find the words for, the written diary I could never commit to. However, this does not stand as a dairy. It’s a constructed reality, with a dream like sense, giving the viewer a chance to see a fraction of a life.

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