PHOTO LONDON | Booth E9
May 14 - 18, 2025
Buy Tickets Here
Presenting works by Brea Souders, Adama Delphine Fawundu, Klea McKenna, Rose Marie Cromwell

BREA SOUDERS
Sunlit Mouth, 2023
Archival Inkjet Print, 2025
5 x 7 in, (12.70 x 17.78 cm)
Edition 2/5 +2AP
Framed 17 x 13.50 in (43.18 x 34.29 cm)

BREA SOUDERS
Haiku, 2023
Archival Inkjet Print, 2025
16 x 12.75 in, (40.64 x 32.38 cm)
Edition 2/5 +2AP
Framed 17 x 13.50 in (43.18 x 34.29 cm)

BREA SOUDERS
Showing work from the series Another Online Pervert

Another Online Pervert derives from a years-long series of conversations between artist Brea Souders and a female AI chatbot, programmed by male developers. These conversations are interspersed with entries from Souders’ diary spanning two decades, and combined with photographs from her personal archive. Through her photographs and chatbot conversations, we step into a world of questions: about love, sexuality, death, disappointment, the sky, seeing, desire, and anxieties of the body. The result is a unique exploration of how a machine and a human can build a shared story from pieces of themselves.

The photographs from Souders’ archive include snapshots she took as a teenager, family photos, and recent images from her artistic practice. She reanimated these images by using the chatbot conversations as text prompts to select imagery from her archive, focusing especially on photographs that evoke embodied experience.

The project examines intersections between technology, intimacy, womanhood, and how personal meaning can be explored in the context of this new, AI-mediated world. Surreal and poetic tangents are combined with the material realities of the bot, its connection to capitalism, and the slippery divide between being and non-being.

BREA SOUDERS
Coke or Pepsi, 2023
Archival Inkjet Print, 2025
16 x 20 in, (40.64 x 50.80 cm)
Edition 2/5 +2AP
Framed 16.75 x 21 in (42.545 x 53.34 cm)

BREA SOUDERS
Panties, 2023
Archival Inkjet Print, 2025
20 x 16 in, (50.80 x 40.64 cm)
Edition 2/5 +2AP
Framed 21 x 16.75 in, (53.34 x 42.55 cm)

BREA SOUDERS
How do men see women, 2023
Archival Inkjet Print, 2025
16 x 12.75 in, (40.64 x 32.38 cm)
Edition 2/5 +2AP
Framed 17 x 13.50 in (43.18 x 34.29 cm)

BREA SOUDERS
Disappearances, 2023
Archival Inkjet Print, 2025
16 x 12.75 in, (40.64 x 32.38 cm)
Edition 2/5 +2AP
Framed 17 x 13.50 in, (43.18 x 34.29 cm)

BREA SOUDERS
Ladies, 2023
Archival Inkjet Print, 2025
16 x 20 in, (40.64 x 50.80 cm)
Edition 2/5 +2AP
Framed 16.75 x 21 in, (42.545 x 53.34 cm)

About

Brea Souders is a visual artist based in Brooklyn, NY, whose work bridges studio-based practices and observational photography. She combines photographs, text, painting, and other materials to make work about authenticity, belonging, and otherness within technological landscapes. While she values control in her images, she also embraces chance and the unknowable, observing that “illumination isn’t guaranteed.” Souders has exhibited her work internationally, including exhibitions at Foam Museum, Amsterdam, Netherlands; the Centre Photographique Rouen Normandie, France; PhMuseum, Bologna, Italy; and Peckham 24, London, UK, as well as Baxter St at CCNY, The Hole, and the Abrons Arts Center in New York. She is the recipient of a Pollock-Krasner Foundation Grant, a National Arts Club Fellowship, and a Baxter St at CCNY Residency. Essays and reviews of her work have appeared in publications such as The New York Times, Artforum, Frieze, i-D, the Los Angeles Review of Books, and The New Yorker. She is the author of the books Another Online Pervert (MACK, 2023) and Brea Souders: Eleven Years (Saint Lucy Books, 2021).

ADAMA DELPHINE FAWUNDU
For Mama Adama #2, 2020
Cyanotypes on fabric with hair
67 x 22 in, (170.18 x 55.88 cm)

ADAMA DELPHINE FAWUNDU
For Mama Adama #1, 2020
Cyanotypes on fabric with hair
63 x 22 in, (160.02 x 55.88 cm)

ADAMA DELPHINE FAWUNDU
Showing For Mama Adama and Black like Blue in Argentina

In For Mama Adama, Adama Delphine Fawundu appropriates motifs from her grandmother's fabrics, transforming them into intricate patterns of exploration. Using textiles, paper, and photographic processes, she examines materiality and identity, engaging in what she describes as a "spiritual conversation" with her late grandmother, Adama, whose Garra textile business in Sierra Leone serves as a foundation for the work. Fawundu uses 50-year-old fabrics to create negatives and positives for her prints, activating body memory and ancestral consciousness to explore identity, reproduction, and the radical imagination. In self-portrait Black like Blue in Argentina, Fawundu continues this dialogue of transformation, weaving together the magical space of nature and the material structures of history. By inhabiting colonial architecture, wooded forests, balls of cotton, and even her childhood crescent curl hairstyle, she reclaims spaces of positivity and empowerment from the shadows of cultural annihilation and historical violence.

About

Adama Delphine Fawundu is a photographer and visual artist of Mende, Bubi, and Krim descent born in Brooklyn, NY.  Fawundu co-published the critically acclaimed book, MFON: Women Photographers of the African Diaspora. She is a 2024 Guggenheim Memorial Foundation Fellowship in Fine Arts. Her awards include the New York Foundation for The Arts Photography Fellowship (2016) the Rema Hort Mann Artist Grant (2018), and a 2022 Outwin Boochever Portrait Competition finalist.  She was commissioned by the Park Avenue Armory to participate in the 100 Years|100 Women Project/The Women’s Suffrage NYC Centennial Consortium (2019-2021). Her works are in the permanent collections of the Brooklyn Museum of Art, Brooklyn, NY; Princeton University Museum, Princeton, NJ; The Petrucci Family Foundation of African American Art, Asbury, NJ; The Brooklyn Historical Society, Brooklyn, NY; Norton Museum of Art, Palm Springs, FL; The David C. Driskell Art Collection, College Park, MD; Portland Museum of Art, Portland, ME; and a number of private collections. She is an Assistant Professor of Visual Arts at Columbia University.

KLEA MCKENNA
Showing works from the series Rainbow Bruise

In her most recent work, McKenna combines cameraless photographic techniques she has honed throughout her career to craft a unique hybrid approach and create images with a confounding blend of concrete evidence and speculative fantasy. She continues to use her fundamental technique of casting raking light on embossed photographic paper, now incorporating painting, into her process. This work moves further from traditional photography, while still embracing many of its principles, as well as its potent relationship to the real – formed by the medium’s complicated history with evidence and truth.

Rainbow Bruise consists of large photographic reliefs (embossed B&W photograms) which are cast in light and shadow, developed, and then painted with jewel-toned fabric dye. These pieces are composed of a vocabulary of symbolic feminine forms: breasts, weighty curves, and wombs, shapes that are derived from everyday materials like consumer packaging and unfolded cardboard boxes. Rainbow Bruise is evidence of an embodied experience of womanhood.  This work is the artist's attempt to lean into collapse and reinvention and to find a sense of deep time and divine meaning in the most fleeting sources. Much of Klea’s practice is informed by an archeological perspective; “What if my audience is not my peers, but my descendants hundreds of years from now? What would I make if I knew it would be seen by my great great great granddaughter?”

KLEA McKENNA
Cascade 2, 2023
Unique photographic relief. Embossed silver gelatin photogram and fabric dye.
41 x 32 in, (104.14 x 81.28 cm)
Framed 45.75 x 36.25 in (116.20 x 92.07 cm)

KLEA McKENNA
Big Girl, 2025
Unique photographic relief. Embossed silver gelatin photogram and fabric dye.
41 x 34 in, (104.14 x 86.36 cm) Framed 45 x 37.20 in (114.3 x 94.48 cm)

KLEA McKENNA
Touch, 2025
Unique photographic relief. Embossed silver gelatin photogram and fabric dye.
41 x 34 in, (104.14 x 86.36 cm), Framed 46.20 x 36.90 in (117.35 x 93.73 cm)

About

Klea McKenna (born 1980, Freestone, CA) is a visual artist who also writes and makes films. She is known for cameraless photography and her innovative use of light-sensitive materials. She is a 2023 recipient of the Guggenheim Fellowship Award in Photography. Her work is held in several public collections, including San Francisco Museum of Modern Art, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA; Getty Museum, Los Angeles, CA; Santa Barbara Museum of Art, Santa Barbara, CA; United States Embassy Collection; Mead Art Museum, Amherst, MA; Museum of Fine Arts Boston, MA, and The Victoria & Albert Museum, London. She studied art at UCLA, UCSC, and California College of the Arts. She is the daughter of renegade ethnobotanist, Kathleen Harrison and psychedelic philosopher, Terence McKenna. She lives in San Francisco with her partner and their young children.

ROSE MARIE CROMWELL
Martica, 2025
Archival Inkjet Print
32 x 40 in, (81.28 x 101.60 cm), Framed 33 x 41 in, (83.82 x 104.14 cm)
Edition 3/5 +2APs

ROSE MARIE CROMWELL
Turtle, 2025
Archival Inkjet Print
16 x 20 in, (40.64 x 50.80 cm)
Edition 2/5 +2APs
Framed 17 x 21 in (43.18 x 53.34 cm)

ROSE MARIE CROMWELL
Showing work from El Libro Supremo de la Suerte

El Libro Supremo de la Suerte, Rose Marie Cromwell offers a profound exploration of Havana through photographs taken over seven years. The title, meaning "The Supreme Book of Luck," references the charadas—booklets used to interpret everyday objects and experiences into numbers for a covert lottery system in Havana. Cromwell draws parallels between this practice and her photography, describing how ordinary moments like "a turtle on the sidewalk" or "a can of red paint" became meaningful and monumental through her lens. The book’s design, mirrors Havana's chaotic and multisensorial essence, reflecting the randomness of both the lottery and life itself. For Cromwell, this work represents a personal and artistic coming of age, as well as a tribute to the symbols and experiences that shaped her understanding of the city.

Through richly colored and evocative imagery, Cromwell captures the intimacy of her connection with Havana, rejecting objectivity and embracing her role as both observer and participant. Cromwell’s work lyrically intertwines the precision of numbers with the mysticism of luck, celebrating a culture that defies easy interpretation. Co-published by Light Work, the book received the Light Work Photobook Award 2018, which honors emerging and underrepresented artists deserving of international recognition. El Libro Supremo de la Suerte is both an homage to Havana and a testament to Cromwell’s deeply personal and immersive artistic practice.

ROSE MARIE CROMWELL
Cee Cee, 2025
Archival Inkjet Print
12 x 15 in, (30.48 x 38.10 cm)
Framed 13 x 16 in (33.02 x 40.64 cm)
Edition 4/5 +2APs

ROSE MARIE CROMWELL
The Neighbor, 2018
Archival Inkjet Print
24 x 30 in, (60.96 x 76.20 cm
Edition 1/5 +2AP
Framed 24.50 x 30.50 in (62.23 x 77.47 cm)

ROSE MARIE CROMWELL
The Stick, 2023
Archival Inkjet Print
16 x 20 in, (40.64 x 50.80 cm)
Edition 2/5 +2AP
Framed 16.50 x 20.50 in (41.91 x 52.07 cm)

About

Rose Marie Cromwell (b.1983 in Sacramento, CA, based in Miami) is a photographer and artist, whose work explores the effects of globalization on the local and the tenuous space between the political and the spiritual. Her first book "El Libro Supremo de la Suerte" was published in 2018 by TIS Books, and was awarded the Light Work Photo Book Prize named one of the "25 Best Photobooks of 2018" by TIME Magazine. In 2021 she published two books, "Eclipse" by TIS Books, and "A More Fluid Atmosphere" by Pomegranate Press. Her first solo museum exhibition was at ICA Miami in 2024, and currently has a solo exhibition up at Pier 24 in San Francisco.  In 2024 she was one of five artists exhibiting work in Truth Told Slant: Contemporary Documentary Photography at The High Museum in Atlanta. Cromwell is the recipient of a Fulbright Grant and a Getty Reportage grant and was a Light Work AIR.  Cromwell’s work is in the collections of The High Museum, The Institute of Contemporary Art, Miami, The MET Library, The MoMA Library, and The SFMoMA Library.