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 PHOTOGRAPHY & PRINT THE FAIR

Your photography often reflects poetic melancholy and nostalgia. How do you balance these emotional undercurrents with the spontaneity of your subjects?

Spontaneity is, indeed, an inherent aspect of my photographic practice, as I seldom plan photo shoots in advance, and they are never staged. My subjects may be close friends, complete strangers, or performers; however, their identities are of little consequence to me. My focus lies in capturing the rawness and beauty of their bodily forms and movements, which I seek to integrate harmoniously with their surroundings. Their bodies and faces become patterns and elements of the composition that are devoid of overt emotions—serving as vessels ready to absorb my own feelings as well as the interpretations of the viewers. In this manner, I aim for the subjects to guide the audience through their own narratives, encouraging them to go beyond one and unique reflection.

You’ve exhibited in Bordeaux, Elektrowerkz, and New River Studio. How has the experience of sharing your work in these settings influenced your practice?

All my previous exhibitions have been unique experiences, requiring me to approach space and format from distinct perspectives each time. During my time in Bordeaux, I primarily showcased my work in a "conventional" manner, alongside other artists and within the constraints of imposed themes, formats, and limited spaces. In contrast, venues in London have afforded me significantly greater freedom, which has presented additional challenges. 

Exhibitions at Elektrowerkz and New River Studio provided the first opportunity to fully engage with an entire space, allowing me to create an atmosphere in accordance with my vision while considering unconventional elements such as darkness, humidity, and the presence of partygoers. 

I had to carefully contemplate the layout and lighting to ensure that my work was both noticeable and memorable in environments where attendees might not be specifically seeking art, but rather engaging in social activities like drinking and dancing. Consequently, I re-evaluated the formats of my presentations and adopted a more innovative approach. I moved away from traditional cartels, costly framing, and standard professional prints, opting instead for large-format giclée prints on textured paper, complemented by QR codes that direct viewers to my social media, online shop, and website. I also always maintained a limited number of prints on hand for sale.

Furthermore, unusual lighting played a significant role in revealing my work; for instance, in darker spaces, I employed reddish lighting to enhance the contrasts of black and white, thereby facilitating a deeper immersion for the viewer into my art.

“My focus lies in capturing the rawness and beauty of [the subjects’] bodily forms and movements, which I seek to integrate harmoniously with their surroundings.”

As you continue to experiment with analogue photography, what themes or new techniques are you excited to bring to art fairs and exhibitions? How do you see your work evolving to deepen your connection with the community through visual storytelling?

In recent years, my lifestyle has undergone a significant transformation, likely influenced by the inevitability of aging and the pandemic, which compelled me to reevaluate my perspective on life. I have increasingly found the tranquility of nature and wilderness to be appealing, serving as my means of escaping the conventions of society. Consequently, my approach to photography is evolving; I am now capturing more landscapes and fewer dynamic movements. My recent work also possesses a quieter quality. 

For the upcoming fair, I would like to present a combination of both older and recent works, fostering a dialogue between selected photographs from various series. It would be a series that aims to create a new narrative that viewers can interpret in their own unique ways.