Presenting works by:

Zak van Biljon, from his series Modernising Nature, exploring the transformation of the natural landscape through infrared photography.

Nikita Teryoshin, from his series Nothing Personal, offering an ironic and critical perspective on the global weapons industry.

Both artists approach photography with distinct and unexpected visual languages, challenging the viewer’s perception of nature, politics, and reality.

In the 21st century, we must reinvent our way of seeing nature—just as 19th-century landscape painters once responded to the rise of industrialization. Today, it’s urbanization that reshapes our relationship with the natural world. Cities are turning into megacities, and most of the global population is now born into urban, tech-driven environments. The illusion of having outgrown nature is strong—yet it remains an inescapable part of who we are. Zak van Biljon’s photographs, with their electric reds and pinks, use infrared technology to confront this disconnect. Originally developed for military and agricultural use, infrared photography captures light just beyond the visible spectrum. Plant leaves reflect this near-infrared light due to their cellular structure, creating otherworldly colors that the human eye can’t normally perceive. His images may seem surreal, but they point back to the real. They awaken a subconscious memory of landscapes we believe we’ve left behind, challenging viewers to reconsider their place within a world they can’t truly separate from.

Nothing Personal pulls back the curtain on the global arms industry, revealing a surreal world far from the battlefield — trade fairs with wine, finger food, and war staged for high-ranking guests. Weapons are plugged into flatscreens, mannequins replace bodies, and killing is simulated for profit. By omitting faces, Nikita Teryoshin emphasizes the system over the individual. His figures recall John Heartfield’s 1930s anti-war imagery, pointing to the absurdity and anonymity of this global business.
Shot across 14 countries and five continents, the series highlights the worldwide reach of the arms trade and questions the logic behind slogans like “engineering a better tomorrow.” Awarded and widely exhibited, the project aims to become a book that documents the polished facade of a deadly industry.