Fernando Lindez - Interview

.aesthetic talk
Fernando Lindez
Coming of Age

written Chidozie Obasi

Fernando Lindez is a bona fide heartthrob: He’s the kind of person who doesn’t wake up in a bad mood, and when he picks up the Zoom call to speak to me, he’s already in good spirits, laughing charismatically between sips of water.

Throughout our conversation, Lindez strikes as someone who is both insightful and honest, whether we’re discussing his wildest dreams - having been an aficionado of the movie industry for years, he believes in the power of community culture as a weapon of growth - or the challenges of being in the public eye from a young age. “I honestly never liked being in front of a camera and actually hated it!” He exclaims, cheerfully, radiating emotion as you’d expect from a man whose career basks in the limelight from iconic appearances in the world’s leading runways to iconic series such as Elite. He isn’t all sunshine and light though: Lindez revealed some of his most challenging experiences, but it was his own insecurities that helped him find common ground in life and in the characters he played. Wielding a coming of age cast, including the likes of Mirela Balic, Ivan Mendes and Nadia Al Saidi, his role in Elite has been making serious waves. From his initial career dabs, and living up to popular expectations, to mental health – we dug deep.

FERNANDO LINDEZ wearing
total look VERSACE

LE MILE Magazine
TRANCE Issue, No. 36 Cover Fernando Lindez
wearing MOSCHINO

“I honestly never liked being in front of a camera and actually hated it! But now that I've seen all the videos or the episodes, it's funny to remember everything that I did in that project.”

Fernando Lindez speaks with Chidozie Obasi
LE MILE Magazine TRANCE, Nr. 36

Chidozie Obasi
With everything that has happened over the years, have these times of uncertainty affected your identity in a way?
Fernando Lindez
I think this period was a great one for me, particularly because I had the chance to be involved in projects where I learned a lot from my partners, from the directors I met and the people I had the chance to work with. I think it affected me in a positive way and made me grow as a professional, particularly as an actor. Obviously the pandemic crisis badly affected the film industry and the fashion sector too, but I feel like it's slowly getting better.

How did you get into fashion?
It was all pure casualty! I honestly never liked being in front of a camera and I actually hated it. But it all started around 2016 or 2017, with no social media. I remember a friend of mine posted a photo with me on Instagram and an agent from Uno Models here in Spain saw that picture, and then he reached out to my friend.

What was your wildest dream as a kid?
When you're a kid, it's difficult to have only one: I wanted to be a lot of things. I wanted to travel all over the world to record and talk about nature. And of course, the thing about acting was surely more in my mind than modeling when I was younger. I really liked movies, and became passionate about the film industry from early on. So I always thought about becoming a great actor.

Would you say that your Spanish upbringing has influenced you in your career in a way?
No, I don't think so. I move by my personality, what I learn from the people I’ve met, from the things I experience in life and work.
Obviously, I know where I come from and I really appreciate my culture: It’s one of the best in the world for me. But I'm always open to listening to other cultures, to learn from other people and I don't think I'm attached to just being Spanish I always like to grasp aspects from other realities: I think it's good to open your mind in that way.

total look VALENTINO

top CELINE

team credits
seen PAOLO BARRETTA
fashion director CHIDOZIE OBASI
style editor DENNIS CAPPABIANCA
grooming ANNA PELLEGRINI
light assistant LORENZO OGLIALORO

“I think that when you are in a bad position and when you are feeling bad, you just have to say it. And you have to know when to stop.”

Fernando Lindez speaks with Chidozie Obasi
LE MILE Magazine TRANCE, Nr. 36

blazer + tie MOSCHINO
trousers VALENTINO

Starting from fashion, you've also transitioned into the film industry with various roles. So how did it all begin?
So it all started at the same time, both modeling and acting. I remember when I started in fashion, they also called me for an audition for a TV Show. I didn't even have a lot of experience into the acting industry. But now that I've seen all the videos or the episodes, it's funny to remember everything that I did in that project, which was my first one. And I only have happy memories about it. After that, I discovered I could act and I was able to do it. I wanted to learn more, so I got into acting in schools to learn more about this practice, and I'm still doing it. I think it's a profession where one is always learning.

And then what would you say that was your hardest role to ever take as an actor?
I think on Escándalo, which is a Spanish TV show. For me, it was very hard because it was my first big project as a main character. It was also a character who experienced a lot of difficulties during the story and with a really big internal problem. He had a lot of traumas from the past, so for me it was difficult to find the way this character was living with how he reacted to all the people he was having relations with during the show. It was my first time doing sex scenes too, a very hard pick for me. But, you know, it was great because I had the chance to work with Alexandra Jimenez, who is a really good actress here in Spain: she was very professional, a really good partner.

And then in terms of the outside pool of people, have you ever felt pressured to be anyone else that maybe you were not feeling quite close to in the film industry or in any roles that you took on as an actor?
Not yet, but I think as an actor, if I take a role or a character it's because I really want to do it and because I feel like I can be that person.

For example, in Elite, at the beginning, I was a bit afraid because I was playing a homosexual character. I’m not, so I wanted to hide that. However, I didn't want people to see a heterosexual guy playing as a gay actor, but I had Omar, which is a very close friend of mine, who was always supporting me and telling me how to move, how to speak, how to react to things in a way that I don't usually do. And that also helped me a lot. But it was something that was extremely interesting to me. Of course, I put some things from my own, from Fernando to Joel (the character in Elite), but it's a mix of everything that pushed me further to grow.

Would you ever consider going into production or directing?
I mean, right now, I would say no. Because I'm focusing on my acting career and I feel like I have so many things to learn, so many things to improve. I like the job as a director more than a producer. But I will see in the future. For the moment, what I want to put my focus on is acting.

How do you feel projects like Elite have developed you as an actor or just as a creative in general?
It's been almost one year and a half of filming: we filmed two seasons, and especially in the last one, my character had a lot of weight. For me, it was more difficult than the one we filmed before. And now that it’s been produced, I can say it was a big challenge for me because I did things that I never did before. I learned a lot from that and from my partners. It was a really, really good experience for me, which I’m grateful for.

What would you say is the biggest thing that you've learned from this experience?
Compañerismo! Being together. We were a big group of actors and actresses. So yeah, I would say working on a team. The power of collaboration and of being together, and also crafting a good relationship with your partner for me, it was the most important thing because we were always helping each other. And as an actor, I think it's very important to be always open to help others. Because if you help others, they will help you.

total look HERMES

And what were the most difficult and challenging ones that you navigated when you were both in fashion and also now as an actor?
I had those complex moments. Especially, I remember, after the pandemic: a period where I really struggled with nutrition. I wasn’t in a good position, mentally. So I had to take a break to focus on myself, on my body, and on my mental health. I think that when you are in a bad position and when you are feeling bad, you just have to say it. And you have to know when to stop. You have to know your limits, and it's important to know yourself and to know where those limits are. Nowadays, I like to take care of my mental health: I go to therapy here in Madrid, teamed with sports. Together, these habits help to maintain a good mental and emotional balance.

Would you ever consider going into production or directing?
I mean, right now, I would say no. Because I'm focusing on my acting career and I feel like I have so many things to learn, so many things to improve. I like the job as a director more than a producer. But I will see in the future. For the moment, what I want to put my focus on is acting.

And in terms of social media and your image, you've become a mega star since Elite. How do you cope with the public, and how does bad and good criticism affect your mental health?
I always try to put limits on my social media, as I only have Instagram.
But, I'm also someone who doesn't like to show a lot of my intimate persona on those platforms. I feel a bit afraid, I have to be honest, of showing my life and talking to people on there. Because of the the public opinion which can demonise or categorize you in a bad way.

What is next for you?
I want to move to New York for a couple of months, I will see! don't know when I will move to that place, and I don't know when I want to leave. But yeah, I want to go there and, you know, continue modeling there in the States as well and grow as an actor and as a person.

follow artist @fernando_lindez
via Why Not Models

Studio GdB - Interview

.aesthetic talk
Studio GdB
Transforming Clay Tiles into Art

written Benjamin Schiffer

Tiles are rarely the first object you notice when entering a room. Not so with the designs of Studio GdB - the Dutch design studio makes clay tiles the absolute center of attention.

The two founders and former graphic designers Gilles de Brock and Jaap Giesen challenged the status quo within the tile industry after realising that their ideas could not be translated with any of the conventional methods out there. Consequently, the duo created their very own custom digital printer allowing for a computer-controlled application of liquid glazes. The results are vibrant, unique and customizable tiles in a range of uplifting colours and extraordinary patterns.

Studio GdB
Gilles de Brock + Jaap Giesen

“There was never really a particular reason or planning behind working with tiles. It was more or less the instant idea ´Let's make tiles´. Apparently, we both thought that this was a really good idea.”

Jaap Giesen speaks with Benjamin Schiffer
LE MILE Magazine ISSUE, Nr. 35

Benjamin Schiffer
Your backgrounds are similar, right? Tell us about how you both met.
Jaap Giesen
We met in graphic design school eight years ago and since then our friendship has matured.
After that we decided to do an internship in Antwerp together, we moved there together. Gilles decided to keep on studying in Den Haag, so I went to Rotterdam. Luckily, the two cities are not too far apart from each other, so we got to meet every weekend.

When did you develop your first interest in interior design?
JG
We are both trained graphic designers and I started to grow a great interest in vintage furniture design. Gilles was more interested in technology and building machines. Looking at it now, it is the perfect collaboration and we found a middle way bringing together contemporary designs and technology.
Gilles de Brock
There was never really a particular reason or planning behind working with tiles. It was more or less the instant idea ´Let's make tiles´. Apparently, we both thought that this was a really good idea.

…and you successfully found your niche in the market. Congratulations!
JG
All by accident though! It started as a blind passion. Once the business started developing, our fascination also grew and we became very dedicated.
GdB
During the process, we developed an entrepreneurial understanding. We were always self-employed before. You are not really a business owner then. If you want to sell a product it will have to entail certain qualities and all these qualities that we needed were just there. We could pretend that it was a super calculated move and that we are very business-savvy. If it did not work out, we´d probably still do it, but be broke. We were lucky that everything worked out.

JG: There were surely many obstacles that we needed to overcome. Tiles are very heavy, so the question arose on how we would ship them around the world without breaking. Luckily, we got to solve most problems. At the beginning we did not think everything through. Youtube tutorials definitely helped us a lot in the beginning! We did not really have people that had the level of expertise that we wished for. We still do not know much about ceramic glazes, everything is more or less a trial and error procedure that takes time.

When did you realise that conventional methods would not work for your ideas?
JG
When Gilles was working as a graphic designer for a client, he wanted to print some ceramic goods.
GdB
In an arts and crafts store we saw these beautiful glazed samples. We just thought that it would be enough to use those ceramic glazes, but it turned out to be much harder than we thought. We quickly found out that what we had in mind was not realisable with the conventional methods. That's when we had to come up with our own.

I could personally scroll through your Instagram feed forever. The number of colour and pattern combinations seems infinite. Which designs are particularly difficult or impossible to realise?
GdB
We definitely have tiles that are hard to produce, but we don´t put those on Instagram, because then everybody would ask for those. We have a set infrastructure of production, therefore experimenting within that system is not the easiest and not the most efficient. Certain things just do not work in it. This does not necessarily mean that they are objectively more complicated, they just do not fit into the regular production line. It also does not mean that they won't become available at a later point. For now, we want to keep things simple and organised.


Do you guys have a personal favourite colour/pattern combo?
GdB
It's so funny, it is always the designs that we put on Instagram that get the least response. Everybody just seems to like the same patterns. It's not like we don't like them, but it's comparable to listening to the same song over and over again.
JG
I personally love the classic striped patterns with the moody colours. Everybody seems to love the rain and the marble pattern. At this point we start curating some designs a bit more carefully, combining different tiles together.

I assume there are little to no marketing budgets at this point. How do you get your product out there?
JG
We indeed have no marketing budgets. The only thing we do is post things on Instagram. Maybe we will spend money on marketing in the future. For now, what comes in through this organic method, we are fully booked. We never needed to invest in proper marketing - this is an incredible luxury. As soon as we were ready to manufacture the tiles, we put them on Instagram and people started to immediately order them - it sounds almost too good to be true.

(c) John Tods

“In an arts and crafts store we saw these beautiful glazed samples. We quickly found out that what we had in mind was not realizable with the conventional methods. That's when we had to come up with our own.”

Gilles de Brock speaks with Benjamin Schiffer
LE MILE Magazine ISSUE, Nr. 35

Which artists or artistic epochs inspire you?
JG
Sean Scully! He is the best!
GdB
He makes nice paintings with interesting colour combinations.We are inspired by some of the Dutch designers who also have innovative ways of production. It is less their outcome, but rather their principle of creating machines to do what has not been done before.

I assume your bathrooms and kitchens are also tiled with your own designs. How do you decide which designs can move into your homes?
JG
I have to ask the wife! I prefer the more classic styles with a modern interpretation and more muted colours.
GdB
To be honest, I have a hard time choosing, even though my kitchen actually needs some tiles. It is scary to put tiles in my own house, I might grow too tired of them too quickly.

In what way do you consider your work approach typically Dutch?
JG
t´s very straightforward. If we decide on doing something, we are going to make it work and we are going to make it fast.

Let's talk about interior trends in general. What trend do you think we'll see everywhere next year?
JG
I think that things can be a bit more fun, less serious. Warmer and brighter colours could be a thing.

Where would you like to see your tiles?
GdB
At the very beginning we wanted to do tiles for metro tunnels and hotel lobbies. I guess that this is still the goal. Those metro stations in NYC seriously need renovation. What we also learned is that you can actually use tiles on the exterior of buildings such as facades.
JG
Yes, having tiles on a skyscraper would be amazing! Very high on our priority list.

What advice would you give to someone who is seeking to make a career from their creativity?
JG
Commit to one thing and keep on doing it very well!

follow artist @studio.gdb
discover online www.studiogdb.nl

all images (c) Studio GdB

Eda Phanlert Sriprom - Interview

.aesthetic talk
Eda Phanlert Sriprom
EDAVERSE

written Chidozie Obasi

With a bold, soulfully powerful gaze, Thailandese artist Eda Phanlert Sriprom entrances you with an artistic practice full of haunting underpinnings and spiritual layers, which are soulful and poignant in equal measure.

Hailing from Buddhist Thailand, Eda’s craft—influenced by a journey into self-discovery and desexualization—braces a potent dynamism by bringing forth a beyond-gender, spiritual approach that transcends all manner of social constructs: It’s a complete channelling of emotion that takes you through the twists and turns of her life, providing a beautifully cathartic experience. By diving deep into her history, the artist discovered details about the intellectual aspects of a garment: Replacing traditional textiles with discarded materials, reconstructing the silhouette yet preserving their original underlying philosophy, Eda challenges social norms by fashioning clothes with a wealth of identities.

(c) John Tods

(c) Sun Thapphawut

“I believe that we all must be able to express ourselves and have the freedom to speak our minds so as to the accessibility to basic human rights.”

Eda Phanlert Sriprom speaks with Chidozie Obasi
LE MILE Magazine ISSUE, Nr. 35

Chidozie Obasi
In a world where the boundaries of art and culture are increasingly commonplace, how did you manage to find the right way to express your art?
Eda Phanlert Sriprom
I only focus and try to manage and find the truthful way to express my art, the absolute truth-which has nothing to do with the right or wrong way at all. Because things could have gone so differently in case there's bad timing or you’re in the wrong place. So I don’t necessarily think there’s a right way to achieve it. For example, in Thai culture, same-sex marriage is not considered as common sense, especially when two people are not legally allowed and validated as a married couple. Or the accessibility to become a monk which is only limited and restricted to cis male. Therefore, I believe that we all must be able to express ourselves and have the freedom to speak our minds so as to the accessibility to basic human rights.

What issues lie beneath your artistic practice?
As a Trans and a Trans artist, I have been facing the identity challenge toward the society and art landscape at large. Buddhism plays a major role in terms of how I recollect myself as it is today. I find it resourceful and it could be essential to the people in our community too. I find Buddhism being a truly universal art, and Buddha a true artist. But with cultural restrictions, all religions have been used as a tool dividing people rather than uniting them. That’s why I have been trying to articulate my Buddhism practice into my artistic one. With this approach, the audiences may feel more inclusive and eventually drawn into the essential core of what I try to share, which is how we cope with suffering. On the contrary, fashion is all about vanity and it's a powerful tool in order to get yourself validation, but it could become exhausting and you keep running in circles endlessly. Quite the opposite, the combination between fashion and Buddhism makes the balance between the two, and it’s formidable.

As a multi-dimensional artist exploring all manner of media, what’s your biggest limitation? And why?
Myself, from what I want and what I don’t, and that’s because I try not to take myself too seriously and at the same time, I try to make myself more serious or, let’s say, serious enough. At the end of the day, I decided not to swim against the tide and not fly against the wind to make sure I’m balanced - not to live too far behind but not too far ahead, in order to be present.

I’m extremely intrigued by the depth and sensitivity of your photographs: which series would you say is your most intimate, and why?
The relationship between me and the Buddha is personal and intimate. Getting myself shot in a somewhat Buddhist monk uniform for the first time, by my dearest artist and beloved brother Sun Tappawuth, was exceptional. I felt the closeness yet openness all at once. I felt the present between me and Buddha aligned on that wet-plate photograph. It’s incredibly liberating.

(c) John Tods

(c) John Tods

“Buddhism being a truly universal art, and Buddha a true artist. But with cultural restrictions, all religions have been used as a tool dividing people rather than uniting them.”

Eda Phanlert Sriprom speaks with Chidozie Obasi
LE MILE Magazine ISSUE, Nr. 35

(c) Eda Phanlert Sriprom

(c) Som Nurarak

Social commentary and spirituality seem to have a firm ground in your works, but what exactly moves you in that direction when drawing a line for a concept?
I decide to do something when I can’t feel the ground or I don’t see it clearly, or even when I can’t breathe properly. It must feel wrong in order to get it right. I lost interest when I could predict the destination. For example, as I mentioned earlier, having myself dressed up and documented as the Buddha is considered a radical and sensitive subject but I decided to stand by my truth based on my loving relationship between me and the Buddha himself. The reaction from the audience was diverse, and somehow I had been sued by someone who might have felt offended but I have to stand my ground.

Would you call yours an intersectional approach to examine the arts, and the world at large?
Aren't we all different and yet we’re so similar? Does the spirit have gender? Aren’t we all trans? Am I really convinced when someone says that he’s utterly straight? Literally, aren’t we all transitioning constantly? Having said that, as an artist, we must at least be truthful to ourselves and our artistic practices - whether it’s made to examine or desert the arts and the world at large. So to speak, the arts and the world to me are as singular as life itself.

What are your hopes for the people who view your pieces for their first time?
I hope that they feel the differences as the beauty and the similarities beyond gender and that raises questions within themselves. Be critical and be at ease with who they were, who they are, and hopefully who they would love to become, whether you might or might not like the answers or the idea but this is the essential process and that’s an essential part of our transitioning life.

follow artist @ladyboil
discover online www.edaeditions.com

Felipe Romero Beltran - Interview

.aesthetic talk
Felipe Romero Beltrán
Boundaries of Photography

written Alban E. Smajli

The captivating world of Felipe Romero Beltrán awaits, where the conventional boundaries of photography dissolve into a mesmerizing mosaic of migrant experiences.

In his latest series, 'Dialect', Romero Beltrán masterfully intertwines elements of documentary, performance, and choreography, inviting viewers on a journey through the intricacies of human existence.

Within 'Dialect', Romero Beltrán uncovers the choreography of human experience, where bodies become vessels for storytelling and movement transcends the constraints of static imagery. Each frame pulses with the rhythm of lived experiences, inviting us to contemplate the profound interplay between individual narratives and collective consciousness.

© Felipe Romero Beltrán 2023
courtesy Loose Joints

© Felipe Romero Beltrán 2023
courtesy Loose Joints

© Felipe Romero Beltrán 2023
courtesy Loose Joints

“In 'Dialect,' the (in)communication between documentary, performance, and choreography delivers different approaches to reality. The implementation of these practices, within a traditional medium, allows me to deal or treat both the possibilities and limitations of photography when approaching a social subject.”

Alban E. Smajli
Felipe, your work in 'Dialect' seamlessly integrates documentary, performance, and choreography. How do these elements collectively enhance the narrative of the young migrants’ experiences?
Felipe Romero Beltrán
In 'Dialect,' the (in)communication between documentary, performance, and choreography delivers different approaches to reality. The implementation of these practices, within a traditional medium, allows me to deal or treat both the possibilities and limitations of photography when approaching a social subject.

Can you give an example of how these three elements – documentary, performance, and choreography – interact in a specific piece within 'Dialect' to tell the story of the migrants?
I think the reenactments are a clear example.

In these exercises, at first, incompatible elements appear (the performance as a documentary tool) but at the same time, the guys give me a hand to bring their memories to the image's present.

In 'Dialect', you've captured the 'dead time' of bureaucratic processes. How did you conceptualize and translate this abstract, yet weighty, concept into visual art?
In my opinion, it’s not that abstract but rather palpable. Three years of waiting to be able to access to documentation. It defines the entire project. The visual approach I took was a consequence of the situation I encountered within this group of guys.

You mentioned the three-year waiting period impacting the project. Could you describe how this period of waiting influenced the artistic choices or emotional tone in 'Dialect'?
It allowed me to build an affective space around the project. Otherwise, I might have applied a specific workflow to make the project functional. In 'Dialect', the dynamic was chaotic, visceral, and, above all, open to the possibility of never materializing into a project (for the first two years, I didn't even consider it a project).

Your series not only documents but also politically interrogates. How do you navigate the fine line between artistic expression and political commentary in your photography?
Absolutely. The photographic tradition has a special relationship with this. I attempt, from a personal standpoint, to place some questions through a photographic visual device that start from a specific case in Seville. Given the slippery nature of fine lines, the project's interpretation evolves over time and varies with each viewer.

Considering our theme 'TRANCE', how do you think 'Dialect' resonates with the idea of a collective cultural consciousness, especially in the context of migration and identity?
I like to think of the term Trance from its etymology - passage - (it has the same meaning in Spanish). For 'Dialect', this term signifies a passage, imposed by an external bureaucracy, that gathers a group of guys to live together and generate a social dynamic - external, peripheral - in autonomy from the normalization of society. Something I learned from the project was precisely that autonomy of the group, which over time I also shared, of the collective in spite of the logics that are executed.

You interpret 'Trance' as a passage influenced by external bureaucracy. How does this interpretation manifest in the visual narrative or the choice of subjects in ‘Dialect'?
The choice of subject emerged as a consequence of my photographic work. At the beginning, I was interested in taking pictures about the relationship of the guys with each other, the internal dynamics in this "small society". Then I realized the implications due to their political condition, so I added another layer, where the bureaucracy appears and dictates everything, still, the project is primarily a series of a group of guys.

© Felipe Romero Beltrán 2023
courtesy Loose Joints

Your work often involves extensive research. Could you share how your research influenced the development and execution of 'Dialect'?
Completely. I've had an academic background, and at the time I was writing my doctoral thesis. Naturally, one cannot isolate the different fields of your work, so I embraced the way of working in a broader sense. It was also a consequence of the time I spent on the project (3 years) that made this research possible.

Photography as a medium often captures a moment in time, but 'Dialect' seems to explore the concept of time itself. How do you approach this temporal aspect in your photography?
In 'Dialect', there are two types of moments: the first, following the documentary tradition, challenges the conventional notion of an 'event'. Rarely does something happen that can be categorized as a distinct moment; instead, it stretches to the point of exhaustion. The second type of moment has to do with the staging of moments already lived and inaccessible to the traditional photographic medium, through reenactment, in a failed attempt, in collaboration with the guys. we look for moments to bring back to reality.

“It allowed me to build an affective space around the project. Otherwise, I might have applied a specific workflow to make the project functional. In 'Dialect', the dynamic was chaotic, visceral, and, above all, open to the possibility of never materializing into a project (for the first two years, I didn't even consider it a project).”

Regarding the two types of moments in 'Dialect', could you provide an example of how you captured a 'moment extended to exhaustion' and its significance in the narrative?
These are moments where nothing happens. The photographic event, very much related to the tradition, is constituted as a lapse of time where something happens. However, in 'Dialect', these moments are drawn out, extending in time due to the prolonged wait for documentation.

The use of the body as a metaphor in 'Dialect' is profound. How do you believe the physical embodiment in your work communicates the psychological and emotional experiences of the individuals you photograph?
Politically, 'Dialect' represents both body and law. In this sense, and from a photographic consciousness, the body plays a fundamental role throughout the project: distances, dispositions on the body, point of view, treatment of light.

In 'Dialect', there's a notable choreographic element. How does dance and movement contribute to the storytelling in your photography?
Each project offers new learning opportunities. As an extension of 'Dialect', I am now working on a choreographic piece where the concept of movement is more explicitly explored.

© Felipe Romero Beltrán 2023
courtesy Loose Joints

© Felipe Romero Beltrán 2023
courtesy Loose Joints

Could you describe a specific scene or photograph in 'Dialect' where dance and movement played a crucial role in conveying the story or emotion?
The photograph where Youssef, Hamza and Bilal appear. Bilal is fainting lying on Hamza's shoulders and Youssef helps to carry him. This reenactment occurred thanks to the guys' explanation of this memory of Bilal. They played it repeatedly, generating movement around the scene. Given the static image's inability to capture an extended time lapse (unlike cinema), I decided to accentuate this limitation and represent the movement as statically as possible.

Looking ahead, how do you see your photographic style and themes evolving? Are there any new projects or directions you are particularly excited about?
Yes, absolutely. Right now I'm working on some pieces in relation to movement. I'm excited to continue exploring different disciplines that deal with a common subject, as well as a commitment to the photographic image as an autonomous language.

Dialect by Felipe Romero Beltrán is published by Loose Joints
Through to www.loosejoints.biz