“Le Réinventé” (The Reinvented)


The journey of my art springs from the desire to experience what lies beneath the surface of images and to engage a wide range of emotions. In particular, my intention overall is to create interesting, visual narrative experiences utilizing a cinematic approach, like stills from film noir movies. I also like to capture the magic that light and shadow communicate.

Another thread that runs through my photos includes psychological, emotional, and even spiritual expressions; at times encompassing the Past, the Present and the Future.

My art is inspired by the exploration of going beyond the literal representation of a scene or subject. In that regard, most times I implement multiple layers, which include a vintage, overlay to produce ethereal imagery.

I invite the viewer “To truly see, instead of merely looking.”


WHY I LOVE IT, by Aurélie

When a friend of mine showed me Sinden Collier’s work, I was immediately hooked. Her images were poetic and dreamy, with a tactile quality we rarely get to see in photography. It arched back to the early days of the medium, when film was used and effects were added in the darkroom.

I love the title she chose for the show, “Le Réinventé” (The Reinvented). It perfectly fits her work, how she reinvents her images. She first experimented with film and darkroom techniques to create her multi-layered images; she now uses digital manipulations. The tools may have changed, but her artistic intent has not – her vision remains throughout. The world she creates is both romantic and nostalgic, with a bit of surrealism thrown in.



Sinden Collier became a photographer after a successful career as a singer, songwriter and musician. Recording under the Motown label gave her the opportunity to see the world.

She was always interested in photography and learned it on her own. Her unique and at time surrealist viewpoint quickly garnered her recognition and support.

Working at first with film and experimenting in the dark room, she now uses digital manipulation to create beautiful and poetic dreamscapes.

In 2001, she became the first Black female photographer to be signed by Getty Images.

In 2017, her book “Trains of Thought – Welcome Aboard” received an honorable mention in Elizabeth Avedon’s “2017 Best Photography Books.” In it, her fine art images accompany aphorisms written by her twin sister, Rhett Collier.

Her work has appeared in magazines and advertising campaigns, and received numerous awards, including “ Hot 100 Photographers of 2021.”

Sinden often contributes her talent to the youth community to strengthen their self-esteem and better prepare them for the world.

Portrait of photographer Sinden Collier




Taking portraits of my family and friends was the first step in my photography. I haven’t stopped ever since.


WHY I LOVE IT, by Aurélie

I’ve known Kourosh Sotoodeh for a few years and always admired his work. It has been interesting to witness his recent move toward more personal series.

I’ve always been a firm believer that it’s important for photographers to work on personal projects throughout their careers. If you’re only shooting for jobs (even editorial ones), you’re never free – there are always expectations and requests you need to worry about. Personal projects allow you to truly express yourself. Which can be daunting for some. It’s the fear of the white page for a writer!

I titled his exhibit “Moments” as the images presented here are a mix of past and present works, editorial images and personal projects. They are all very different – from hyper glamourous beauty shots to views of a starry sky, but they all spoke to me.



Kourosh Sotoodeh is a Photographer and Director who lives and works in Los Angeles and New York City. Originally from Iran, he studied Industrial Design and Cinema before focusing on photography.

He shoots for several well-known commercial clients and prestigious fashion magazines, among them Vogue, Harper’s Bazaar, and Elle

His education in art and design shapes his approach to his subjects. Both his photography and video work capture beautiful moments using a strong and minimalist aesthetic.

Portrait of Kourosh Sotoodeh on set





For as long as I can remember I have had an urge to capture a situation, a movement, a beautiful light, an expression, a moment. My early ideals of beauty were shaped by paintings throughout art history, movies, and fashion magazines photographs. Those images were mythical, heroic, beautiful and powerful. Strong female icons through time have been my muses, and this has followed me throughout my career as a photographer. 

I happened upon fashion photography as an aspiring photographer in New York in the late 1990s. It allowed me not only to capture an image but also to explore dreams and fantasies. Working with other creative talents, I could realize ideas that I had in my head. 

My photographic style is feminine; the women I portray are sensual and timeless. I try to find both their strength and their fragility. It’s that duality that inspires and drives my vision. I think of my photography as a form of visual escapism – small vignettes and narrative excerpts, where the dynamic lies in capturing the moments ‘in-between’. 

Photography has been my vehicle, one I have driven, one that has driven me, for a quarter-century. Its unique ability to steal time affords me the clement role of the narrator. Through the stories I tell, I’m able to move between past, present and future. 

WHY I LOVE IT, by Aurélie

I don’t remember how or when I met Helena Palazzi, but I’ll always remember how genuine and friendly she was. When you think of the fashion world, I wouldn’t say “genuine” and “friendly” are the first adjectives that come to mind! And yet, there she was, radiating warmth and empathy.

When she told me she was half Swedish half Italian, I wasn’t surprised. She is the perfect mix of Scandinavian rigor and Southern joie de vivre. And besides loving her as a person, I love her work! I love that her models are elegant and strong. No waif here! These women are self-confident and in full power of their seduction.

Her images are timeless. The clothes might be right off the runway or from 10 years ago, it doesn’t matter: they are not the focus – the woman is. Helena photographs as only a woman can do: her women are never objectified, they are celebrated. I feel the fashion world and world at large need more beautiful and empowering images of women.



A transplant from Sweden now living in the Hudson Valley, Helena Palazzi began her journey into photography as a teen. Growing up in the 1980s, she carried around a secondhand film camera and spent hours in a hand-me-down black and white darkroom set up in her family garage.

In 1993 her journey took her to her father’s homeland, Italy. With other young photographers, she founded a studio and enrolled at the Academy of Fine Arts in Perugia, Umbria. Less than two years later, she had her first solo exhibition. Many more would follow over the next few years, featuring her photography along with her mixed media work.

She landed in New York in 1998, set on pursuing a career in commercial photography. But fashion and beauty imagery drew her in and she quickly switched gears. Her seductive and refined images got her noticed and she started to work with some of the world’s most renowned clients and creatives.

Helena’s work draws from her Scandinavian and Southern European roots. Her style is timeless, elegant and sprinkled with retro references. Her photos appear as dreamlike images in which fiction and reality meet; well-known tropes merge; and past and present fuse. Time and memory always play a key role. Applying a poetic and often cinematic visual language, she seduces the viewer into a quest to find poetic meaning in everyday life.

Since 2019 Helena has made Kingston, NY, her home. There she opened a studio, Yellow House Production, where she welcomes her New York business and local clients. She is currently engaged in a diverse lineup of projects, from fashion editorial to beauty shoots, and high-end product photography, to portraits and fine art.

Portrait of Helena Palazzi