I work for a non-profit , humanitarian organization that specializes in health care and poverty alleviation in East Africa. A large part of my job is to visit our projects each year and to document our work, bringing back photographs that tell the stories of the people we serve. When I am not working, I am exploring the towns and villages where we work and the places in between, attempting to create something personal along the way. This group of images is not intended to be a cohesive body of work. They are singles, without context, representing my personal relationship and perceptions of Africa – all of its strangeness and beauty and complex relationships among God, government, and colliding cultures. My love for this part of the world is equally complex. I’m a stranger in a strange land, and yet when there I somehow I feel more comfortable in my own skin–ironic, given that I’m glaringly aware that my skin is pale, vulnerable, and out of place. I feel a real freedom unlike the highly touted freedoms of home. And it doesn’t escape me that it’s likely because I am white, a visitor, and the rules there don’t apply to me in the same way. But I am respectful, even reverential, in all that I encounter. I know how precious these times are when I can be the minority, unable to blend, surrendering to the circumstances in which I enter.

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 More of Jeff’s work can be seen HERE.

Jeff’s previous contributions to aamora.

WRITTEN IN MILLSTONE GRIT (part one) by aamora member Fred Shively

To know and love Yorkshire, particularly the West Riding, is to understand the role of 
millstone grit.  In its walls and buildings. Soot covered, moss encrusted. Hewn in blocks, carved into gargoyles and statuary. Laid by hand with or without mortar. Hopefully these images capture what to me is the the very heart and soul of this region.

_Bridge & canal, Todmorden, Yorkshire. Photo by Fred Shively.

Former worker's cottages, Titus St., Saltaire, Yorkshire, England. Photo by Fred Shively.

Holmfirth, Yorkshire. Photo by Fred Shively.

Mill building at Dean Clough, Halifax, Yorkshire, England. Photo by fred shively.

Slaithewaite 2, Yorkshire. Photo by Fred Shively.

Fred Shively was born in Pennsylvania USA. After studying radio and TV journalism at university, he moved to England and began a long career in advertising and corporate communications. Working with outstanding designers, photographers, musicians and filmmakers helped shape Fred’s skills and creative vision and feed his curiosity.

 Fred’s work has been shown in several US East Coast galleries, in various UK magazines, on various websites and in galleries and publications in Spain.

Enjoy more of Fred’s work here

His previous contributions to  aamora.



GRANNIES by MaYa Sinji Jung- Part one


Coffee time with Halmang

For the last couple of years, I’ve taken photos and written essays of sweet grannies in my island home, Jeju-do, South Korea. Here, we call grannies ‘Halmang’ in Jeju dialect.


halmang and her monk son

Most of them live alone in peaceful rural villages, set against the mountains and ocean. Their kids left their old towns and ran away to the city. Their husbands have long passed away. Sadly, many grannies lost their beloved ones to the tragic Jeju 4:3 massacre (1948) or the Korean war (1950-53).


halmang is 98 years old

In a Halmang’s universe, time passes slower and smoother. Without speaking too many words, their stories spread like endless tree-rings; the stories as someone’s lovely daughter, as some guy’s beautiful woman, as some kid’s strong mother, and also as everyone’s sweet grandma.

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halmang sings the old melodies

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sunny smiley halmang day

I love these grannies. And I love their stories. How fortunate was I to be invited and allowed to wander in their universe? It is a never-ending journey into a place of peace. **My stories are all written in Korean, so I am sharing only photos with you guys!**

MaYa Sinji Jung is a multi skilled storyteller trying to inspire people by her images, sounds, writings and smiles. Recently based in Jeju-do(South Korea), delivering various life stories by her writings and photographs. You can view more of her works in JPG  ,visit her on Flickr and FaceBook

CARNIVAL IN BASEL by Peter Brutschin








Peter Brutschin was born in1951, and and grew up in an ultra Catholic Black Forest village not far away from Basel. Basel: the city of the ‘first european revolution’, Holbein the younger, Nietzsche, Meret, Oppenheim, Jean Tinguely, The city where LSD was invented by pure chance. Peter used to celebrate the ‘Catholic’ carnival; the moment he heard about the Basel carnival he celebrated it one week later, too (supported by his ultra protestant mother who called the school director, that Peter was sick – year after year. So year after year he started fasnacht with the morgestraich at 4 am and completed it 3 days later with the gugge. marching 3 days through the city, up and down the roads and the small streets, crossing the Rhine river with his clique (all Catholic immigrants from his village, all “sick”), playing on his small drum, kept lively by roux soup and his enthusiasm and, well, Mr. Hoffman’s invention sometimes too.
Since 1970 he has been living in Berlin. a carnival free zone, suffering every February /March.
For almost 20 years he has been managing a sheltered workshop for so called mentally handicapped people.
He specializes in education for acting, dancing, painting, and graphics. His kind of ‘clientele’ quite often have these  Basel carnival qualities: a dark humor, a lack of respect for
‘authority’, scurrility and the feeling for rhythm.

If you want to learn about why the Basel carnival is called the only protestant carnival in the world or learn about the morgestraich or the cortège or the cliques or … have a look here:

Find out more about Peter’s work here

Visit Peter’s website for more photos!

RELIVING OUR GRIEF painting by Silvia Mercoli, words by Catharine Amato

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I was wearing that red cardigan, the one Auntie made and I hated. Funny how you remember the small details . We were doing it again, walking together slowly to the church, trying to be dignified in our grief. I didn’t really understand why once a year we had to go to this special mass, when the adults’ eyes brimmed with tears and our priest spoke in a voice more sombre than usual.
I could feel the town’s folk watching us and heard some murmering but never caught their words.
My father hadn’t come home from the war.His body hadn’t been found and his fellow soldiers could only offer vague accounts of what happened, so we held a mass for his soul every year on his birthday.
My uncle lead with my mother and grandmother and the rest of the family followed behind them.
Reliving our grief had become a habit.


After my mother died, when I was studying to become a teacher, I received a envelope with a foreign postmark. The letter informed me my father had died recently and in that distant country. A young man wrote to me that he was my brother and would like to meet me.
Now I really grieved for the father I had hardly known.

Silvia Mercoli  is an actress and theatre director with her own company Latte Nero in the Milan area. She has been a professional photographer and artist. Catharine Amato has added words to one of Silvia’s paintings. This is her previous contribution to aamora.

Catharine Amato is a founder member of aamora. These are her other contributions to aamora.

AN ARMENIAN BAKERY by Emanuele Cosmo

There are places where bread tastes better, it tastes of tradition.


“I’m in Armenia, a small and ancient nation which is full of suprises including a complicated past.



I’m just about to leave Goris, a city in the southern region of Syunik, where I’ve been staying with a family and visiting the stone pyramids. Seeing a bakery along my way, I stop the car and go in. Time stands still in the ancient bakery .They are making “lavash”, armenian bread, both white and wholemeal. An ancient recipe of flour, salt and water baked in the “Tonir” oven.



Three women work together preparing the dough, rolling it out and rendering it to the right consistency.They shape it and put it in the oven. It is ready in minutes.




The first room is steeped in darkness with only one lightbulb,but the magic happens here with bare essentials, a table with some scales, and a table with a vat for the dough.




I’m lucky, it’s Sunday , closing day, but they’re doing an order for a birthday. In the first room they are checking the oven and I watch these women as they work, fascinated by this ancient tradition  trasmitted through the unique taste of this simple food….bread.




At last I buy my “lavash” and thank the three women whose warm welcome is a normal part of life here in Armenia.”

 See more of Emanuele’s work here.

Emanuele’s previous contribution to aamora.

THE MIRROR OF DECEIT by aamora member Rhio 9

This series of illustrations came from a dream about a woman who lived alone in the mountains. She did magick with other women at the “Carnaval des Femmes de Cirque” (the Carnival Women of the Circus). In my dream, I was hiding behind a two-way mirror watching her put on her make-up getting ready for the show. I wanted her to take me with her to see the magick, because when she moved around the circus tent, it was like she could float above the ground effortlessly. In her left hand she held the planet Venus and in her right hand, Mars. After a long while, my eye-lids became heavy and I fell into a deep sleep: a sleep within a sleep, a dream within a dream. When I woke up the next day (in the dream!) she was gone, but I remember when she was leaving she whispered in my ear, “Nothing changes in our memory.”
These illustrations are all that remains of me…. and the dream.

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see more of Rhio’s work here,

and Rhio’s other contributions to aamora here.

SUBURBAN BLISS by aamora founder member Alexis Gerard

I grew up in Switzerland and moved to the San Francisco Bay Area as an adult. Despite the many years I’ve lived here, I’m still surprised and intrigued by my surroundings – the light, the topography, the culture, the architecture. Since 2005 I’ve been working on a project to chronicle visually my emotional response (as opposed to a more documentary approach) to the community where I now live, the mid-Peninsula region that extends roughly from Millbrae in the North to Redwood City in the South. The project includes four themes: Castles (where people live), Main Street (businesses), Relax(leisure) and Vignettes (visual impressions isolated from context).

The full portfolio can be seen here. A broader selection of my work can be seen on my Flickr account


San Mateo, Ca (October 2011)

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San Mateo, Ca (June 2013)

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San Mateo, Ca (December 2008)

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Burlingame, Ca (February 2013)

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Foster City, Ca (November 2011)

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Redwood City, Ca (August 2009)

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San Mateo, Ca (May 2013)

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Burlingame, Ca (October 2012)

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Closing the Carnival by Michael Risenhoover


A night series of photographs taken while workers were taking down a small carnival.











Images taken June of 2009 in a bowling alley parking lot in Pacifica California.

 See more of Michael’s work here.

MATERIA by Carla Cantore

“L’arte è il luogo sacro che accoglie in sé la materia con le sue infinite possibilità plastiche, tecniche ed estetiche, il tempio in cui si contempla con stupore questa continua, instancabile trasformazione della materia nella forma, nella vita.”

Art creates a sacred space for substance, with all its infinite plastic, technical and aesthetic possibilities, to be contemplated in its continual transformation into living shapes.

CarlaCantore.Viaggio onirico.aamora

viaggio onirico



E così, l’arte riesce a captare le silenziose leggi che governano l’universo e grazie alle quali il respiro della vita diventa possibile.”

And so art picks up the silent laws of the universe which render life possible.



in bilico nel tempo

In questo modo, essa, servendosi dei colori e delle forme, penetra fino alle radici dei principi vitali, cogliendo uno dei più profondi istinti del cosmo: quello al cambiamento continuo, all’incessante evoluzione, al travolgente progresso di tutte le cose.”

Using colour and shape it goes deep into the cosmic values of incessant change and evolution.

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 musica sospesa

In questo portfolio il mio intento di autrice del progetto, è stato quello di cogliere con la fotografia le peculiarità degli oggetti naturali e dei manufatti, il miracolo della trasformazione dal tempo e dalla mani dell’uomo. Di riconoscere il dettaglio, l’istante e di isolarlo dalla realtà, fissandolo in una fotografia.”

The intent of my project has been to express through photography the original way in which natural and man-made objects are miraculously transformed by time and man’s intervention, pinpointing moment and detail.



Carla Cantore was born in Matera in 1972, developing her passion for photography early on when she stole her father’s Zenit 4, leading her parents to give her a Kodamatic 950 as a first communion present.
She has taken part in local, national and international workshops and shown her work in solo and group exhibitions.

-see more of Carla’s work here

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