To celebrate @composition reaching 100k followers, we are announcing the newest addition to the Composition extended universe. Introducing Compositionally Inclined. Our weekly newsletter will consist of featured pieces and series from contemporary artists and photographers, as well as highlighting recent clothing collections and creative marketing campaigns from brands we admire. Each feature will contain in-depth analysis and commentary from our editors. All straight to your inbox. Paid subscribers will get early access to product releases, access to the exclusive curated Composition monthly playlist, two more subscriber-only newsletters per month, and access to the exclusive community chat feature on Substack. We will also be utilizing this newsletter as a platform to share Composition-related news including upcoming product releases, interviews, collaborations and more. Link in bio to subscribe. See you in your inbox.

Street Photography by Joe Webb (2023–2026) Webb began photographing the streets of London in 2021, documenting working men and women navigating the gap between their perceived expectations and their lived reality. His work treats the street as a social index, where both collective and individual states of mind become visible through various means of expression. He records the full range of the urban experience, conveyed through manual labor, noticeable frustration, and small victories, held together by the shared space of the pavement. Throughout Webb’s work, the street serves as one of the subjects, not as backdrop. A common ground that absorbs and reflects the pressures of the people who move through it.

We Make Years Out of Hours by Lina Lapelytė (2026) Commissioned by Chanel and presented at Hamburger Bahnhof - Nationalgalerie der Gegenwart in Berlin, the installation fills the museum’s main hall with 400,000 spruce and pine cubes. Twelve performers work alongside visitors throughout the day, stacking, carrying, and dismantling temporary structures that shift continuously throughout the duration of museum hours. The work is accompanied by a score derived from poems by fifteen international writers, including Etel Adnan, Mahmoud Darwish, Forugh Farrokhzad, and Ocean Vuong, sung in cycles as the landscape transforms around them. At the close of the exhibition in January 2027, the 400,000 cubes will be transferred to Eisenhüttenstadt, a small city in Brandenburg, Germany, on the Polish border. The city was built in the early 1950s as the German Democratic Republic’s first “socialist planned city.” The cubes will then be used for a public artwork that will be developed in collaboration with the community of Eisenhüttenstadt.

Photography by Camilo Casanova (2022–2026) Casanova is a Chilean journalist and photographer whose work focuses on the visual and social landscapes of Latin America, with photographs made across Mexico, Cuba, Peru, Brazil, and Bolivia. The images attend to everyday scenes and local traditions in places that feel suspended in time. His work records the activities and environments through which identity and collective memory remain present within familiar scenes of daily life. The selection draws on this ongoing body of work, approaching each territory as a site where documentary style portraiture and symbolic themes can coexist within the same frame.

The Office by Steven Ahlgren (1990–2001) Ahlgren began photographing inside American workplaces after spending years as a bank employee in Minneapolis, where repeated visits to Edward Hopper’s painting Office at Night (1940) at the Walker Art Center prompted him to turn the camera on the environment he already inhabited. The resulting series documents the rhythms of corporate interiors across the United States during the 90s and early 2000s. Rather than treating the office as a site of critique, Ahlgren constructs images that create deliberate ambiguity, allowing the viewer to project meaning onto typical scenes of stereotypical corporate tasks such copying and conferencing.

Rwanda by Paw Gissel (2025)

La Processione della Desolata (The Procession of the Desolata) by Shanti Simonetti [2026] The Procession of the Desolata is an Easter ritual observed in Puglia, southern Italy, in which women dressed in black accompany a statue of the Virgin of Sorrows through the streets of the city, marking the Virgin Mary’s grief over the death of Christ. The practice belongs to a tradition of southern Italian confraternal processions with roots in Counter-Reformation devotional culture, where collective mourning was organized around the figure of the Mater Dolorosa. Simonetti’s project attends to the formal and spatial dimensions of the ritual, the synchronized movement of participants, the relationship between the procession and the fabric of their clothing, and the visual grammar of communal religious observance as it persists in contemporary public life.

Mawmaw by Anthony Wilson (2021–2026) These photos are additional selections from a series we featured in February earlier this year. In this documentary project, Wilson explores various “grandfamilies” throughout West Virginia, which are households in which grandparents have assumed primary caregiving responsibility for their grandchildren in the wake of parental neglect, incarceration, or death. These households are situated within a landscape that is partially affected by the ongoing opioid crisis that is prominent in the region, without characterizing an explicit correlation to the broader issues around epidemic as the result of these arrangements. The photographs here continue the series’ focus on domestic rhythm, as well as the emotional and physical labor that sustains these homes. The work frames these environments not through the conditions that formed them, but through the life lived within them. The series is now in print as a full photobook with Pomegranate Press (@pomegranate_press ) and co-published with Guest Editions (@guesteditions ) and is now available for purchase on their respective sites.

Carved Land by Kohei Maekawa (2021–2023) This work documents scarecrows built by elderly residents across rural villages in Japan to represent scenes of daily life, such as farming and fishing and arranged throughout streets and fields to create the illusion of an inhabited community. Maekawa encountered these figures while driving remote mountain roads at night and chose to photograph them using strobe lighting. The facelessness of the scarecrows blurs the boundary between subject and object, placing the work somewhere between portraiture and still life. Maekawa presents these images as expressions of collective memory and anticipatory grief, with rural Japan presenting itself as a landscape already mourning its own future.

Touching Ground by Lauren Luxenberg and Ronal Sanmartin (2025) Luxenberg, a Canadian-British photographer, began visiting Medellín, Colombia after a chance detour during a solo ride through the Andes, and returned repeatedly over the following five years. The project was developed in collaboration with Ronal Sanmartin, a local skateboarder, artist, and musician who grew up in a barrio during the height of the city’s cartel wars. The series uses the city’s skateboarding community as a frame through which to document Medellín’s neighborhoods, residents, and landscape. The series follows skaters through cafés, carparks, churches, florists, and rooftops. The work situates its subjects within a city still in the process of reckoning with its past, where Ronal notes, nature grows in places you would never expect it to grow, and it is the same for the people.

Highway Kind by Justine Kurland (2006–2015) This series brings together two bodies of work made over several years of travel across the United States. The first, This Train Is Bound For Glory, follows hobos and itinerant campers within the American landscape, photographed in part during extended road trips Kurland took with her young son, Casper, who spent much of his early childhood living and traveling with her in a van. The second, Sincere Auto Care, documents men working in roadside auto repair garages, situating its subjects within a world of broken engines and accumulated labor.

Avalanche by Tadashi Kawamata for PHILÉO and adidas at Dover Street Market Paris (2024) Kawamata installed several hundred wooden chairs in a window opening at Dover Street Market Paris, allowing them to spill down the building’s façade and pool across the courtyard below. The work follows Kawamata’s longstanding use of mass-produced wooden furniture as a sculptural material. Chairs have appeared across his practice since the early 2000s in various configurations, consistently deployed to raise questions about the accumulation of household objects and the effects of mass-manufactured products on the environment.