Photo London 2026 | Art Fair

14—17 May | Olympia, Kensington

Exhibiting Artists:

Luca Ortis

Justus de Rode

Tomoko Nagakawa

Marco Rapaccini

Wysocka Pogo

Open Doors Gallery is delighted to be returning to Photo London Fair with a group presentation which includes unique works from contemporary artists as well as new work from newly represented artists.

One of the centrepieces of our booth this year is a presentation of brand new work from London-based tattooist and photographic artist Luca Ortis. A defining element of Ortis’ practice is his use of 24-carat gold, applied to join different areas of printing together. The gesture draws on Kintsugi, the Japanese joinery technique in which broken ceramics are repaired with gold, honouring fracture rather than concealing it. In Ortis’ hands, gold does not cover imperfection but celebrates it. The join becomes part of the image. The result is a body of work that asserts itself as object as much as image, each piece bearing the visible presence of the maker’s hand.

We will also have on display the full set of newly released By Choice, Not Chance works by Wysocka Pogo. Each piece is unique. Using their distinctive risograph technique, the duo print twice onto canvas, surrendering the final composition to chance.

Marisol Mendez’s Madre series continues to gather momentum, this year earning a nomination for the Saltzman-Leibovitz Photography Prize alongside five other artists. Now in its second edition, the prize has already established itself as one of the most significant in the field. Prints from the series are available exclusively through Open Doors Gallery.

Also showing on the booth is new work from Italian photographer Marco Rapaccini, drawn from his Litorali series. Hand-toned cyanotypes capture the coastal landscape of Castelporziano and Capocotta, a nature reserve near Rome where Rapaccini spent his childhood summers. Reconfigured as diptychs and triptychs, the dunes shift in scale and association, islands one moment, mountains the next, tangles of bramble the next. The cyanotype process, with its slow build-up and erosion of pigment, suits the work exactly: image and place arrive at the paper through accumulation rather than capture.

We are pleased to be exhibiting alongside this a new body of work from Dutch artist Justus de Rode, whose Views of Nature takes its title and structure from Alexander von Humboldt’s 1808 travelogue Ansichten der Natur. De Rode uses Humboldt, at once a Romantic and a founding figure of modern ecology, as a way of holding analytical thought and emotional response within the same frame. The resulting oak-bark-toned cyanotypes, presented in custom steel frames, make objects of both observation and feeling.

Completing the booth is Tomoko Nagakawa’s quietly absorbing new series The Weight of a Second. Born in Tokyo and now based in Buckinghamshire, Nagakawa works in salt prints on Japanese Shiramine Select paper, approaching each image as something closer to correspondence than reproduction. A practice she likens to letter writing. The series borrows its title from the second law of thermodynamics and turns it onto lived experience: time as something felt rather than counted, each moment weighted with everything that cannot be undone.

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