Photographer Jocelyn Janon visualises the mood and feelings he had as a young boy, creating worlds in the back of his father’s Citroen.
In the boot of my father’s Citroen ID20 station wagon, there were two side-facing seats; they were my special seats. Here I could create my own little world, piling up books, carving a stick with my pocketknife, eat apples from the garden. From here I could watch the scenery going by, wave at the cars behind us, look at the city lights, catching a glimpse of people’s life as my dad’s car whizzed past them. Meanwhile, my 3 sisters were in the back seat playing with dolls and arguing…
Cars are a fascinating way to observe the behaviour of people and are often a reflection of their social status, life challenges, and priorities.
I also love the way a car can become a tool for me. Something to shoot through voyeuristically, to add depth and tell a story, or hint at something deeper.
Jocelyn Janon is a French-born New Zealander [he/him/his], based in Auckland, New Zealand. For him, photography is a means of meeting people and expressing his love for humans. He is particularly interested in the talented ones – the artist, the misfits, the ‘different’ ones. The round pegs in square holes.
Hannah Caldwell uses nature’s forms and suspended blooms to explore impermanence, and the tender dualities at the heart of human experience.
Andrzej Wojciechowski’s minimalist, meditative journey through symbolic landscapes where body, technology, and myth quietly converge.
Mark Moran’s black and white film series capturing quiet, instinctive encounters with strangers, where mood, light, and subtlety take precedence over spectacle.
Michael Wriston captures America’s backroad gospel in bold, sun-bleached signs—part sermon, part spectacle—shouting belief into the roar of passing trucks.
