Born in 1958 in The Hague, The Netherlands.
Lives and works in France.

Jeremy Stigter has developed a photographic universe where the societal documentary meets narration and psychology.

He practices photography freely under many forms – stories for the French and international press, books, photo novels, photo/performances, portraits – always in series.


Chère chair
(Dear Flesh – Fabulous Flesh) 

Farida Le Suavé
Jeremy Stigter

23.05 – 20.07.2019

Flesh. A connection between the body’s different parts, a connection between human beings. We are, indeed, all made of flesh: tender flesh, soft flesh, toned. Masses of flesh, young, fresh flesh, old, flaccid flesh, at every stage, flesh lives, vibrates, full of palpitations… Flesh exists beyond the beat of the heart. A source of passion, obsession, fascination, terror – its quantity, its shape and other characteristics, flesh is with us, always, in all its various manifestations. As our primary topography, it awakens us and it’s intense presence never ceases to ‘tickle’ our curiosity, our senses, and in our wanderings connects, allowing for a sense of communion as well as transcendence. Sometimes flesh is only pain, disgust, loathing. Chère chair (Dear Flesh – Fabulous Flesh) sets out examine, to scrutinize this matter that makes us who we are.

Undone sketches

Peter Martensen

17. 06. – 23. 07. 2016

Intentions, idées, notes, projets, plans, journaux intimes, mémoires, registres, archives ou simples feuillets… Notre vie, nos pensées, nos rêves prennent souvent – et parfois seulement – la forme de traces écrites… Tiroirs et autres rangements en sont emplis. Ajoutons à cela les tentatives, les projets avortés, les impossibilités… La confrontation avec une réalité qui ne veut pas émerger ou qui se heurte à ce temps dont on manque toujours. Pour ne pas mentionner les documents aux informations si sensibles qu’elles vivent intensément mais dans l’ombre… jusqu’au jour où…

Off site

MAMC, Saint-Etienne Métropole


Peter Martensen

09. 03 – 27. 08. 2017

Sans cesse en quête d’une vérité artistique et existentielle, Peter Martensen trace, à travers sa peinture, son propre chemin, indépendamment des modes parfois aléatoires du monde de l’art. Nombreux sont les musées danois qui lui ont offert leurs cimaises et depuis, il a été présenté en Suède, en Italie, en Corée comme à New York ou Paris. Ravage est sa première exposition monographique dans un musée français [extrait du communiqué de presse].

Maison du Danemark, Paris


Peter Martensen

06. 09 – 29. 10. 2017

Première exposition de l’artiste sur la scène institutionnelle parisienne, Ravage rassemble peintures, dessins, sculpture et vidéos témoignant de la cohérence de la démarche de l’artiste. Loin d’une rétrospective de l’œuvre de Peter Martensen, cette exposition intervient dans une période de création particulièrement riche et innovante dans sa carrière dont elle se veut l’écho [extrait du communiqué de presse].


"Bojoo", a Tender View of Japan Captured by Jeremy Stigter


Manon Baeza

Publications and texts

Visiting Mister Ueda

Jeremy Stigter, Zen Foto Gallery, 2021

And so off we went, into a blustery autumn day. As luck would have it, I noticed an umbrella, a prop Mister Ueda had often used to great effect in his own pictures, lying in the back of the car, and passed it to Mister Ueda. But it turned out to be a little fold-up umbrella, not at all suited to the fierce weather we soon found ourselves in, and it ended up flapping about like some mad black bird, a valiant Ueda-sensei holding on to it for dear life, as he bravely soldiered on, up and down the ridge of dunes we had chosen for our location.
Jeremy Stigter – Extract from the preface of Visiting Mister Ueda

available for sale at the gallery

The Jewish Bride – a photo play

Jeremy Stigter, Nazraeli Press, 2009

The Jewish Bride is a photo-novella, a photo play. Chilling yet curiously intimate it presents a picture book for grown-ups; there are no words, just pictures. If the story told is simple, even banal – an encounter between a man and a woman – it gradually drifts off into another dimension, dream-like, surreal. It is this quite unexpected twist, and its singular black humour, that gives this gorgeously produced book its distinct character.


François Goldwasser et Jeremy Stigter, Seuil, 2012

Vivre (Life), a joint effort by the photographer Jeremy Stigter and the oncologist Professor François Goldwasser, presents an intimate portrait of life in a day hospital for cancer patients. Photographs of, and testimonies by, patients, their relatives and friends, as well as members of the medical staff bare witness to the intense personal upheaval of those affected. All those who agreed to participate gave most generously, in words and pictures, of themselves, resulting in an account of great sensitivity and quiet dignity.