Photographer Esko Männikkö gently captures fragments of rural landscapes, animals, and people, which he places in antique decorative frames found at flea markets. The intense cropping of his images divorces them from the possibility of a fixed narrative and draws each image’s formal qualities to the forefront: The symmetrical compositions formally interact with the hand-selected old wooden frames, offering meditations on aging, rural dilapidation, and poverty while remaining objective and detached. Männikkö borrows his deadpan way of looking and interest in allover composition from Dusseldorf School photographers like Thomas Struth, but translates them into an intimate, quieter scale.