Australian artist Polixeni Papapetrou trends the line between fantasy/theatre, mythology/reality, archetype/play, male/female, child/adult and animal/human. As with all her work the series The Dreamkeepers tells a story that includes her autobiographical relationship with her children, but it also says a lot more about the condition of childhood - its place in our culture and how we react to images of children in photography.

In his series of untitled photographs Nobody Claps Anymore, the Mexican-American photographer Alec Dawson portrays ordinary people in their homes in a downbeat, ultra-stylised manner. Staring into space as they watch TV or water the garden, the real-life subjects of photographer hint at vast reserves of boredom and regret. (Photo by Alec Dawson)

IT'S a relatively simple idea – set up a mirror so you can capture the reflection of a dramatic landscape in a single photograph. Photographer Daniel Kukla, from New York, created a spectacular series of artworks called The Edge Effect using the technique. He clamped the mirror onto an easel and placed it in various settings in the Joshua Tree National Park, California.

Japanese artist Hikaru Cho is already well-known for her bizarre and realistic body paintings, but now the Tokyo-based artist has applied her talent to everyday food items as well. In her playful “It’s Not What It Seems” series, she turns common foods into other kinds of food using only acrylic paint and her extraordinary talent.

Artist Vik Muniz is known for his gigantic composite installations and sculptures created from thousands of individual objects. In this new collaboration with artist and MIT researcher Marcelo Coelho, Muniz takes the opposite approach and explores the microscopic with a new series of sandcastles etched onto individual grains of sand.

Andre Ermolaev is a photographer from Moscow, Russia (featured previously). In an ongoing series of aerial photos, Andre captures Iceland’s incredible landscape like you’ve never seen. Many of his images focus on capturing glacial rivers flowing through Iceland’s volcanic areas and the patterns and colours that emerge from the resulting flow.

Every year, in the Rostov region of Russia, a group of 40 young and not so young rural workers compete in the Bison Track Show, or more affectionately known as: Russian Flying Tractor Racing. In front of crowds numbering up to 30,000 people, a series of smoke spilling, monstrous farming machines tear round an 8km mud track, plowing through lakes and dirt mounds, their turbos screaming and tyres scrabbling to find grip.