Henriksson's quiet, formal compositions are near-perfect meditations on shape, light, shadow and texture.
Some of his images bring to mind early masters like Paul Strand and Aaron Siskind.
A contemporary master, Anders Petersen, wrote this about Henriksson's work:
"This spring I had the opportunity to see Örjan Henriksson´s photographs for the first time. In these days, when critics and media excel in postmodernist comments of the correct opinion, Henriksson´s pictures seem surprisingly naked and liberating.
"At first sight one might be tempted to call them registering or documentary, but what they describe is rather a photographic room placed in the borderland of the sacred.
"In their disciplined form and handling of the light they charge me with an astonishing energy and invite the observer to a journey, different and meditative, not unlike music, but an empathetic one."
Henriksson seems to have the eye and the patience to wait for just the right moment for the light to rake over a scene, accentuating texture, warping lines and celebrating the senses. The way he frames his compositions is impeccable.
It was a joy for me to meet him during portfolio reviews at FotoFest Houston and at LensCulture FotoFest Paris. He is a humble, talented man, and definitely someone to watch.
— Jim Casper
(Black) gold fever has gripped Myanmar—this series documents how a local population has abandoned age-old agricultural practices in favor of the slim hopes of striking rich with oil.
Welcome to the Asylum — the latest surreal photographic compositions by the American master of psychologically disturbing, multi-layered complex imagery. 20 new photos in a slideshow, plus a "making-of" video.
explores the illusions created by an always-on immersive internet connection, and the dreamy hyper-real imagery of tourist destinations as represented by stock photos.