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Some of my images are featured in the Hariban Award 2025 catalogue by @benrido.atelier, beautifully printed with collotype technique on gampi and mitsumata washi paper, Japanese binding. Looking forward to visiting Kyoto in November to print my work for a future exhibition.

Thank you, Deborah Klochko @visl.it, for your words:

"The series You Can't Enter the Same River Twice by Francisco Gonzalez Camacho was my Juror's Choice for this competition. These quietly lyrical images invite the viewer on a journey of personal reflection and contemplation. Drawing on the concept of impermanence, the artist considers the landscape as both subject and metaphor-an ever-changing presence that mirrors the shifting nature of human experience.

The artist cites the ancient Greek idea of panta rhei-"every- thing flows"--that reminds us we cannot step into the same river twice. Camacho's photographs embody this principle, capturing the fluidity of time and the inevitability of transformation.

His work balances subtlety with depth; their restrained beauty invites slow viewing, allowing layers of meaning to emerge over time. The images function as both documents of place and poetic meditations, reminding us that nothing remains fixed and that transformation is inherent in both the natural world and in ourselves. His beautiful, metaphorical photographs resonate on multiple levels-emotional, philo- sophical, and visual-making them an especially compelling choice."

Deborah Klochko Juror, Hariban Award 2025

Images courtesy of @benrido.atelier

Some of my images are featured in the Hariban Award 2025 catalogue by @benrido.atelier, beautifully printed with collotype technique on gampi and mitsumata washi paper, Japanese binding. Looking forward to visiting Kyoto in November to print my work for a future exhibition.

Thank you, Deborah Klochko @visl.it, for your words:

"The series You Can't Enter the Same River Twice by Francisco Gonzalez Camacho was my Juror's Choice for this competition. These quietly lyrical images invite the viewer on a journey of personal reflection and contemplation. Drawing on the concept of impermanence, the artist considers the landscape as both subject and metaphor-an ever-changing presence that mirrors the shifting nature of human experience.

The artist cites the ancient Greek idea of panta rhei-"every- thing flows"--that reminds us we cannot step into the same river twice. Camacho's photographs embody this principle, capturing the fluidity of time and the inevitability of transformation.

His work balances subtlety with depth; their restrained beauty invites slow viewing, allowing layers of meaning to emerge over time. The images function as both documents of place and poetic meditations, reminding us that nothing remains fixed and that transformation is inherent in both the natural world and in ourselves. His beautiful, metaphorical photographs resonate on multiple levels-emotional, philo- sophical, and visual-making them an especially compelling choice."

Deborah Klochko Juror, Hariban Award 2025

Images courtesy of @benrido.atelier

Some of my images are featured in the Hariban Award 2025 catalogue by @benrido.atelier, beautifully printed with collotype technique on gampi and mitsumata washi paper, Japanese binding. Looking forward to visiting Kyoto in November to print my work for a future exhibition.

Thank you, Deborah Klochko @visl.it, for your words:

"The series You Can't Enter the Same River Twice by Francisco Gonzalez Camacho was my Juror's Choice for this competition. These quietly lyrical images invite the viewer on a journey of personal reflection and contemplation. Drawing on the concept of impermanence, the artist considers the landscape as both subject and metaphor-an ever-changing presence that mirrors the shifting nature of human experience.

The artist cites the ancient Greek idea of panta rhei-"every- thing flows"--that reminds us we cannot step into the same river twice. Camacho's photographs embody this principle, capturing the fluidity of time and the inevitability of transformation.

His work balances subtlety with depth; their restrained beauty invites slow viewing, allowing layers of meaning to emerge over time. The images function as both documents of place and poetic meditations, reminding us that nothing remains fixed and that transformation is inherent in both the natural world and in ourselves. His beautiful, metaphorical photographs resonate on multiple levels-emotional, philo- sophical, and visual-making them an especially compelling choice."

Deborah Klochko Juror, Hariban Award 2025

Images courtesy of @benrido.atelier

Some of my images are featured in the Hariban Award 2025 catalogue by @benrido.atelier, beautifully printed with collotype technique on gampi and mitsumata washi paper, Japanese binding. Looking forward to visiting Kyoto in November to print my work for a future exhibition.

Thank you, Deborah Klochko @visl.it, for your words:

"The series You Can't Enter the Same River Twice by Francisco Gonzalez Camacho was my Juror's Choice for this competition. These quietly lyrical images invite the viewer on a journey of personal reflection and contemplation. Drawing on the concept of impermanence, the artist considers the landscape as both subject and metaphor-an ever-changing presence that mirrors the shifting nature of human experience.

The artist cites the ancient Greek idea of panta rhei-"every- thing flows"--that reminds us we cannot step into the same river twice. Camacho's photographs embody this principle, capturing the fluidity of time and the inevitability of transformation.

His work balances subtlety with depth; their restrained beauty invites slow viewing, allowing layers of meaning to emerge over time. The images function as both documents of place and poetic meditations, reminding us that nothing remains fixed and that transformation is inherent in both the natural world and in ourselves. His beautiful, metaphorical photographs resonate on multiple levels-emotional, philo- sophical, and visual-making them an especially compelling choice."

Deborah Klochko Juror, Hariban Award 2025

Images courtesy of @benrido.atelier

Francisco Gonzalez Camacho's photographic series 'You can't enter the same river twice' takes Heraclitus literally — training its lens on landscapes in the act of transformation, where forms are still mid-process: bending, breaking, surfacing, dissolving.

The philosophical premise is not merely decorative. If the river is never the same river, then the photograph of the river is itself a kind of category error — a fixed image of something whose defining quality is that it cannot be fixed. Gonzalez Camacho uses this tension generatively rather than trying to resolve it. The work is interested in the moment before a transformation completes, the point at which a form is recognizably in transition rather than settled into its new state. "An unknowable rhythm unfolds," the artist writes. "Forms bend, break, emerge, dissolve, neither whole nor undone."

Photography: @frangccom

Read more at thisispaper.com

Francisco Gonzalez Camacho's photographic series 'You can't enter the same river twice' takes Heraclitus literally — training its lens on landscapes in the act of transformation, where forms are still mid-process: bending, breaking, surfacing, dissolving.

The philosophical premise is not merely decorative. If the river is never the same river, then the photograph of the river is itself a kind of category error — a fixed image of something whose defining quality is that it cannot be fixed. Gonzalez Camacho uses this tension generatively rather than trying to resolve it. The work is interested in the moment before a transformation completes, the point at which a form is recognizably in transition rather than settled into its new state. "An unknowable rhythm unfolds," the artist writes. "Forms bend, break, emerge, dissolve, neither whole nor undone."

Photography: @frangccom

Read more at thisispaper.com

Francisco Gonzalez Camacho's photographic series 'You can't enter the same river twice' takes Heraclitus literally — training its lens on landscapes in the act of transformation, where forms are still mid-process: bending, breaking, surfacing, dissolving.

The philosophical premise is not merely decorative. If the river is never the same river, then the photograph of the river is itself a kind of category error — a fixed image of something whose defining quality is that it cannot be fixed. Gonzalez Camacho uses this tension generatively rather than trying to resolve it. The work is interested in the moment before a transformation completes, the point at which a form is recognizably in transition rather than settled into its new state. "An unknowable rhythm unfolds," the artist writes. "Forms bend, break, emerge, dissolve, neither whole nor undone."

Photography: @frangccom

Read more at thisispaper.com

Francisco Gonzalez Camacho's photographic series 'You can't enter the same river twice' takes Heraclitus literally — training its lens on landscapes in the act of transformation, where forms are still mid-process: bending, breaking, surfacing, dissolving.

The philosophical premise is not merely decorative. If the river is never the same river, then the photograph of the river is itself a kind of category error — a fixed image of something whose defining quality is that it cannot be fixed. Gonzalez Camacho uses this tension generatively rather than trying to resolve it. The work is interested in the moment before a transformation completes, the point at which a form is recognizably in transition rather than settled into its new state. "An unknowable rhythm unfolds," the artist writes. "Forms bend, break, emerge, dissolve, neither whole nor undone."

Photography: @frangccom

Read more at thisispaper.com

Francisco Gonzalez Camacho's photographic series 'You can't enter the same river twice' takes Heraclitus literally — training its lens on landscapes in the act of transformation, where forms are still mid-process: bending, breaking, surfacing, dissolving.

The philosophical premise is not merely decorative. If the river is never the same river, then the photograph of the river is itself a kind of category error — a fixed image of something whose defining quality is that it cannot be fixed. Gonzalez Camacho uses this tension generatively rather than trying to resolve it. The work is interested in the moment before a transformation completes, the point at which a form is recognizably in transition rather than settled into its new state. "An unknowable rhythm unfolds," the artist writes. "Forms bend, break, emerge, dissolve, neither whole nor undone."

Photography: @frangccom

Read more at thisispaper.com

Francisco Gonzalez Camacho's photographic series 'You can't enter the same river twice' takes Heraclitus literally — training its lens on landscapes in the act of transformation, where forms are still mid-process: bending, breaking, surfacing, dissolving.

The philosophical premise is not merely decorative. If the river is never the same river, then the photograph of the river is itself a kind of category error — a fixed image of something whose defining quality is that it cannot be fixed. Gonzalez Camacho uses this tension generatively rather than trying to resolve it. The work is interested in the moment before a transformation completes, the point at which a form is recognizably in transition rather than settled into its new state. "An unknowable rhythm unfolds," the artist writes. "Forms bend, break, emerge, dissolve, neither whole nor undone."

Photography: @frangccom

Read more at thisispaper.com

Currently based in Finland, Spanish artist Francisco Gonzalez Camacho @frangccom presents a process-based approach to photography, interweaving the image with graphic printing methods. “You can’t enter the same river twice” explores the concept of impermanence, the futility of becoming, and the landscape as an agent of transformation:⁠
⁠
“An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift, shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei.”⁠
⁠
See more from Francisco Gonzalez Camacho on our site. Link in bio.

Currently based in Finland, Spanish artist Francisco Gonzalez Camacho @frangccom presents a process-based approach to photography, interweaving the image with graphic printing methods. “You can’t enter the same river twice” explores the concept of impermanence, the futility of becoming, and the landscape as an agent of transformation:⁠
⁠
“An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift, shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei.”⁠
⁠
See more from Francisco Gonzalez Camacho on our site. Link in bio.

Currently based in Finland, Spanish artist Francisco Gonzalez Camacho @frangccom presents a process-based approach to photography, interweaving the image with graphic printing methods. “You can’t enter the same river twice” explores the concept of impermanence, the futility of becoming, and the landscape as an agent of transformation:⁠
⁠
“An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift, shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei.”⁠
⁠
See more from Francisco Gonzalez Camacho on our site. Link in bio.

Currently based in Finland, Spanish artist Francisco Gonzalez Camacho @frangccom presents a process-based approach to photography, interweaving the image with graphic printing methods. “You can’t enter the same river twice” explores the concept of impermanence, the futility of becoming, and the landscape as an agent of transformation:⁠
⁠
“An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift, shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei.”⁠
⁠
See more from Francisco Gonzalez Camacho on our site. Link in bio.

Currently based in Finland, Spanish artist Francisco Gonzalez Camacho @frangccom presents a process-based approach to photography, interweaving the image with graphic printing methods. “You can’t enter the same river twice” explores the concept of impermanence, the futility of becoming, and the landscape as an agent of transformation:⁠
⁠
“An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift, shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei.”⁠
⁠
See more from Francisco Gonzalez Camacho on our site. Link in bio.

Currently based in Finland, Spanish artist Francisco Gonzalez Camacho @frangccom presents a process-based approach to photography, interweaving the image with graphic printing methods. “You can’t enter the same river twice” explores the concept of impermanence, the futility of becoming, and the landscape as an agent of transformation:⁠
⁠
“An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift, shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei.”⁠
⁠
See more from Francisco Gonzalez Camacho on our site. Link in bio.

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Some installation pictures from a current solo exhibition at United Nations University in Tokyo @un_university part of 'Reframing Realities', the first edition of the European Photography Month in Tokyo @seeeu_jp

Pigment prints on fabric, 84x118cm

Thank you to the curators @kimboske @otamutsuko the organiser KOI NIPPON and everyone who supported the project and was part of it: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture, European Union @euinjapan Spanish Embassy in Tokyo @exteriores.maec @lula_japan @grigorjeff @katarina121

The exhibition is open until 23.11
5 Chome-53-70 Jingumae, Shibuya, Tokyo 150-8925, Japan

*Last slide article at @guardian showing all participants

Some installation pictures from a current solo exhibition at United Nations University in Tokyo @un_university part of 'Reframing Realities', the first edition of the European Photography Month in Tokyo @seeeu_jp

Pigment prints on fabric, 84x118cm

Thank you to the curators @kimboske @otamutsuko the organiser KOI NIPPON and everyone who supported the project and was part of it: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture, European Union @euinjapan Spanish Embassy in Tokyo @exteriores.maec @lula_japan @grigorjeff @katarina121

The exhibition is open until 23.11
5 Chome-53-70 Jingumae, Shibuya, Tokyo 150-8925, Japan

*Last slide article at @guardian showing all participants

Some installation pictures from a current solo exhibition at United Nations University in Tokyo @un_university part of 'Reframing Realities', the first edition of the European Photography Month in Tokyo @seeeu_jp

Pigment prints on fabric, 84x118cm

Thank you to the curators @kimboske @otamutsuko the organiser KOI NIPPON and everyone who supported the project and was part of it: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture, European Union @euinjapan Spanish Embassy in Tokyo @exteriores.maec @lula_japan @grigorjeff @katarina121

The exhibition is open until 23.11
5 Chome-53-70 Jingumae, Shibuya, Tokyo 150-8925, Japan

*Last slide article at @guardian showing all participants

Some installation pictures from a current solo exhibition at United Nations University in Tokyo @un_university part of 'Reframing Realities', the first edition of the European Photography Month in Tokyo @seeeu_jp

Pigment prints on fabric, 84x118cm

Thank you to the curators @kimboske @otamutsuko the organiser KOI NIPPON and everyone who supported the project and was part of it: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture, European Union @euinjapan Spanish Embassy in Tokyo @exteriores.maec @lula_japan @grigorjeff @katarina121

The exhibition is open until 23.11
5 Chome-53-70 Jingumae, Shibuya, Tokyo 150-8925, Japan

*Last slide article at @guardian showing all participants

Some installation pictures from a current solo exhibition at United Nations University in Tokyo @un_university part of 'Reframing Realities', the first edition of the European Photography Month in Tokyo @seeeu_jp

Pigment prints on fabric, 84x118cm

Thank you to the curators @kimboske @otamutsuko the organiser KOI NIPPON and everyone who supported the project and was part of it: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture, European Union @euinjapan Spanish Embassy in Tokyo @exteriores.maec @lula_japan @grigorjeff @katarina121

The exhibition is open until 23.11
5 Chome-53-70 Jingumae, Shibuya, Tokyo 150-8925, Japan

*Last slide article at @guardian showing all participants

Thank you, @luciefoundation, for awarding a Honorable Mention to 'You can't enter the same river twice' as part of the 2025 Lucie Scholarship Program. This recognition inspires me to continue developing the series in 2026, experimenting with new printing techniques in Japan and creating new works.

Thank you, @luciefoundation, for awarding a Honorable Mention to 'You can't enter the same river twice' as part of the 2025 Lucie Scholarship Program. This recognition inspires me to continue developing the series in 2026, experimenting with new printing techniques in Japan and creating new works.

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

Grateful to have my series Elsewhere currently on display at the beautiful Cadaqués part of @incadaques_festival. Special thanks to @olivia_de_marmont @valmont_achalme @nadia__lessard @fabiaime and everyone who made it to the opening.

Photopolymer etchings on kozo misu printed back in 2024 during a printmaking residency at @artprintresidence as well as some pieces printed by @eric1levert. Mansonia frames with museum glass by @atelier_kostenko.

The exhibition is on view at Academia Dali until October 26th.

Carrer Curro, s/n, Cadaqués
11:00–13:00 / 17:00–20:00

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My series 'Reverting' is currently on display as a solo exhibition at @griffinmuseum featuring a unique pigment print on handmade recycled paper from waste and limited edition pigment prints on Awagami kozo. Mansonia and walnut frames with maple spline and museum glass by @atelier_kostenko

Many thanks to Crista Dix and the rest of Griffin's staff for the opportunity and to @frame_finland for supporting this project. The exhibition is open until 28.09 in Boston, Massachusetts.

Installation pictures by @seansullivanphoto

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

My new series 'You can't enter the same river twice' have received a Juror's Choice Award in the Benrido Award by @benrido.atelier selected by Deborah Klochko, Curator and Director Emeritus of the Museum of Photographic Arts (MOPA) @mopasd

As part of the award, I have been invited to a 5 days workshop in Kyoto to get an insight into the unique collotype process and to print my own portfolio.

Thank you @benrido.atelier, Deborah Klochko and congratulations to all the winners

One of my images is featured in 'Le coup de cœur' section of 'Amour', the last issue of @fisheyelemag. Thank you @victoriafert____ for the beautifully written piece.

"C’est là que je tombe sur une forme dans l’eau, intrigante, belle, et je m’arrête. Il y a un jeu entre ce qui est là et ce que j’imagine. Comme une rencontre discrète entre deux mondes qui se répondent. On ressent, on interprète, on regarde, sans forcément chercher à comprendre. L’image n’impose rien, elle propose. Elle ouvre un espace pour rêver, pour ralentir, pour retrouver ce lien doux avec soi, avec l’autre. Pour moi, c’est ça la photographie: un espace de liberté. Dans le travail de Francisco Gonzalez Camacho, je retrouve ce même jeu subtil entre le réel et l’imaginaire, entre le fixe et le mouvement, entre l’ombre et la lumière.

Cette photographie est issue de sa série You Can’t Enter the Same River Twice, en référence à la métaphore du fleuve d’Héraclite qui explore l’idée d’impermanence et de perpétuelle évolution. Appliquée à l’amour, cette citation m’évoque un sens particulier: l’amour est un mouvement perpétuel. Il naît d’une source discrète, évolue, se transforme, traverse les paysages, épouse chaque contour, fait corps avec la lumière et finit par s'unir à un océan de joie dont l’horizon est infini. Aimer, c’est alors saisir l’instant et célébrer le mouvement. Car l’amour révèle, à celles et ceux qui se laissent l’envisager, des reflets insoupçonnés."

One of my images is featured in 'Le coup de cœur' section of 'Amour', the last issue of @fisheyelemag. Thank you @victoriafert____ for the beautifully written piece.

"C’est là que je tombe sur une forme dans l’eau, intrigante, belle, et je m’arrête. Il y a un jeu entre ce qui est là et ce que j’imagine. Comme une rencontre discrète entre deux mondes qui se répondent. On ressent, on interprète, on regarde, sans forcément chercher à comprendre. L’image n’impose rien, elle propose. Elle ouvre un espace pour rêver, pour ralentir, pour retrouver ce lien doux avec soi, avec l’autre. Pour moi, c’est ça la photographie: un espace de liberté. Dans le travail de Francisco Gonzalez Camacho, je retrouve ce même jeu subtil entre le réel et l’imaginaire, entre le fixe et le mouvement, entre l’ombre et la lumière.

Cette photographie est issue de sa série You Can’t Enter the Same River Twice, en référence à la métaphore du fleuve d’Héraclite qui explore l’idée d’impermanence et de perpétuelle évolution. Appliquée à l’amour, cette citation m’évoque un sens particulier: l’amour est un mouvement perpétuel. Il naît d’une source discrète, évolue, se transforme, traverse les paysages, épouse chaque contour, fait corps avec la lumière et finit par s'unir à un océan de joie dont l’horizon est infini. Aimer, c’est alors saisir l’instant et célébrer le mouvement. Car l’amour révèle, à celles et ceux qui se laissent l’envisager, des reflets insoupçonnés."

One of my images is featured in 'Le coup de cœur' section of 'Amour', the last issue of @fisheyelemag. Thank you @victoriafert____ for the beautifully written piece.

"C’est là que je tombe sur une forme dans l’eau, intrigante, belle, et je m’arrête. Il y a un jeu entre ce qui est là et ce que j’imagine. Comme une rencontre discrète entre deux mondes qui se répondent. On ressent, on interprète, on regarde, sans forcément chercher à comprendre. L’image n’impose rien, elle propose. Elle ouvre un espace pour rêver, pour ralentir, pour retrouver ce lien doux avec soi, avec l’autre. Pour moi, c’est ça la photographie: un espace de liberté. Dans le travail de Francisco Gonzalez Camacho, je retrouve ce même jeu subtil entre le réel et l’imaginaire, entre le fixe et le mouvement, entre l’ombre et la lumière.

Cette photographie est issue de sa série You Can’t Enter the Same River Twice, en référence à la métaphore du fleuve d’Héraclite qui explore l’idée d’impermanence et de perpétuelle évolution. Appliquée à l’amour, cette citation m’évoque un sens particulier: l’amour est un mouvement perpétuel. Il naît d’une source discrète, évolue, se transforme, traverse les paysages, épouse chaque contour, fait corps avec la lumière et finit par s'unir à un océan de joie dont l’horizon est infini. Aimer, c’est alors saisir l’instant et célébrer le mouvement. Car l’amour révèle, à celles et ceux qui se laissent l’envisager, des reflets insoupçonnés."