INTERVIEW WITH:
HALLE HIROTA
Between the Sheets: Halle Hirota on Art, Identity, and Sensuality
Halle Hirota’s work blurs the boundaries between photography, textile art, and installation, creating a dynamic exploration of identity, sensuality, and artistic freedom.
In this interview with Cluster London, she discusses how Berlin’s creative scene pushed her boundaries, how self-portraiture has deepened her perspective, and how community-driven events in Toronto have shaped her approach to art.
SISTERS II | 2025
UNTITLED II | 2025
Hi Halle! Can you share your experiences from your time in Berlin and how they influenced your artistic perspective?
Being on my own in a new city for the first time forced me out of my comfort zone in many ways. I found that it also allowed me to push my creative boundaries and take more risks/make more of an effort to corroborate with anyone who would have me on board. It was inspiring being in a new environment both physically and socially, once I got into the swing of things I felt inspired by my surroundings and in turn spent the majority of my time creating and collaborating. As a result I accumulated some of my favourite portrait series to date and for that I’m incredibly grateful to everyone I was able to work with during my time in Berlin.
Your work encompasses a variety of mediums, including film, digital media, textiles, and installation. How do you decide which medium to use for a particular project?
For me, the medium often comes after the initial image is created - There are definitely times where I go in knowing that I want to shoot super 8, a specific type of film, or that I want to use an image for a cyanotype design. But often I feel compelled to work with different textures and mediums depending on how the files turn out digitally. That’s why I often write artist statements after the actual series has been produced because many of my ideas don’t end up as the vision I originally had for them but more what inspires me as I’m working.
For example I make “titty totes”, which is just a bag that I make that has a bunch of images of different breasts on it. I only had that idea once the entire shoot was wrapped and I started playing with grids and different digital textures before I realized that the layout would be perfect for a tote bag. I had no intention to make wearable art going into that series.
BEND | 2025
EMBRACE | 2025
UNTITLED I | 2025
Your work often explores themes of femininity, sexuality, and the perception of nudity. How do you approach these sensitive topics in your photography?
I feel like although these topics are considered delicate, it never felt that way to me because at seventeen I just started making work about the things I was feeling and experiencing. I used to be pretty brazen with what I would post online (until my Instagram was disabled forever along with my client list) and that’s when I started to think more about being more polished and intentional with the work I was making as well as the audience I was trying to engage.
As far as how I actually execute my shoots, I shoot almost exclusively women and queer folks so I feel like there is always a level of comfort and understanding when it comes to doing more intimate projects. For my first group nude shoot I actually got naked to take the photos because I wanted my models to feel that we were on the same plane.
SISTERS I | 2025
STRETCH | 2025
You have hosted numerous galleries and cultural arts events in Toronto. How do these events help you connect with your audience and foster community engagement?
It’s unfortunately been around a year and a half since the last event I was a part of hosting, but I did find it specifically helpful especially when I was very young because it helped me to find people who shared the same mindset as I did. At the time Toronto was relatively male dominated in a lot of spaces I frequented so hosting events for female & non-binary artists helped to foster the community I was hoping to connect with. I’ve gotten closer with countless talented people and artists by all working together towards a common goal of producing such fun and wonderful environments where people can connect and collaborate.
Your series Between The Sheets continues your exploration of corporeal power. Can you elaborate on how self-portraiture has shaped this project and your understanding of your own identity?
Between The Sheets was my second attempt at involving myself in one of my series - the initial being Rules & Regulations which was my first larger scale nude series. Because my work that is centred around sexuality is so personal to me and much of it stems from personal exploration on the subject I feel that incorporating self-portraiture is important. For Between the Sheets specifically I wanted to move from exploring bodies as they are sans any outside perceptions into exploring a more sensual side of the body. This series has helped me move into a more confident space where I’m able to choose when I want to be sensual and when I don’t because the intention of how someone is perceived should always be in the hands of the subject rather than the viewer. This is also the first fine art series that I’ve started to bring my identity as an erotic dancer into my work, which has helped me to view that as a part of my personality that has depth and substance worth exploring.
SKIN TO SKIN | 2024
SKIN TO SKIN | 2024
“This series has helped me move into a more confident space where I’m able to choose when I want to be sensual and when I don’t, because the intention of how someone is perceived should always be in the hands of the subject rather than the viewer.”
BEHIND THE CURTAIN II | 2025
BEHIND THE CURTAIN III | 2025
What challenges have you faced as a photographer and multimedia artist, and how have they shaped your work?
I would say the main two challenges most artists of any medium face would be imposter syndrome and lack of funding. Imposter syndrome has been and continues to be one of my biggest challenges in creating. We often feel that our work isn’t worthy or it doesn’t live up to a certain standard that makes us “successful” especially if you aren’t someone who has a large following, or even if you take a long break it can feel like the title of “artist” is lost. I feel that has shaped my work because despite all of those negative feelings I still continue to produce work and put myself out there to be examined and judged despite my fears.
Lack of funding and access to affordable spaces and materials can feel hopeless at times. But where I have found it can be to my advantage is because I truly have to believe in myself and that my work will be successful. I drained every last dollar in my bank account to produce my first solo show and it really paid off in the end. Through being my own biggest supporter I’ve gained a type of drive and confidence in my abilities that I don’t know I could have gotten otherwise.
LOVE HOTEL | 2025
Thank you for reading,
Alexandra, Ema & the Cluster Team.