From November 13 to 16, 2025, Paris Photo will host a trio of unique creators: Anastasia Samoylova, Satijn Panyigay, and Jaya Pelupessy, brought together by the Caroline O'Breen Gallery. Three perspectives, three styles, three ways of questioning our relationship to reality and the image.

ANASTASIA SAMOYLOVA: THE ATLANTIC AS A LEGACY 

Seventy years ago, Berenice Abbott traveled the legendary Route 1, the backbone of the American East Coast. Her black and white images immortalized a world in flux, captured between small towns, seascapes, and the stirrings of a motorized future. Today, Anastasia Samoylova retraces the same route, but in reverse, from the dazzling light of Florida to the far reaches of Maine. Her project Atlantic Coast, presented as a preview at Paris Photo, is both a tribute and a test: what remains of the American dream when asphalt has swallowed the shores and developers have reshaped the horizon? Based in Miami since 2016, Samoylova has forged a style where observation blends with the meticulous construction of studio compositions. Her previous series (FloodZone, Florida, Image Cities) scrutinize the gap between advertising imagery and the fragility of the real world. With  Atlantic CoastColour becomes a weapon. Saturated, almost artificial, it evokes tourist postcards while revealing ecological and social divides: the reflection of a palm tree in the bodywork of a black Thunderbird, a pair of jeans suspended above a flooded street, a car abandoned in front of a dilapidated hangar…

SATIJN PANYIGAY: THE BREATHING OF EMPTY PLACES

Where Samoylova explores the collision between nature and culture, Satijn Panyigay prefers the in-between spaces: those suspended areas where nothing seems to pass, except time. A Dutch-Hungarian photographer, she works exclusively with color film. Her images capture the stillness of museums between exhibitions, apartments under construction, and deserted offices. These places in transition become, under her gaze, visual poems about absence and memory. The muted nuances, the measured light, and the rigorous framing lend her photographs an almost meditative dimension.
In his series Twilight ZoneThe artist slipped into the rooms of contemporary museums devoid of artworks, letting the architecture and light compose on their own. At Paris Photo, her views of the Grand Palais (arches and staircases bathed in a bluish twilight) are shown alongside other nocturnal interiors – glass facades, silent corridors, urban reflections.

JAYA PELUPESSY: THE IMAGE AS PROCESS 

With Jaya Pelupessy, photography ceases to be a static object and becomes an experience once again. The Dutch artist, born in 1989, integrates the unfolding of his creations into his works, making his process visible in the final result. He relentlessly questions the status of the medium, multiplying the "loops" where reproduction generates new images. His series Pictorial Fields (2024-2025) extends this experimental work: he applies a novel technique combining screen printing and photosensitive emulsions made by himself. Each color is exposed separately to UV light, then superimposed.  
The result, vibrant and tactile, evokes both pictorial abstraction and digital pointillism. Pelupessy explores the very limits of photography. By drawing inspiration from digital retouching tools (clone stamp, brush) and translating them into a physical gesture, he brings the image back into the realm of the unique, far removed from the standardized flows of the digital world. 

Paris Photo
Grand Palais
17, avenue du Général Eisenhower, Paris 8^e 
From 13/16 to 2025/XNUMX

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