You’re studying photography – what do you enjoy most about it? And on the other hand, what do you struggle with?
What I enjoy most about studying photography is probably all the creativity and ingenuity I need to use in order to make my work look the way I imagined or sketched it. That applies both to the physical side of things (set design, lighting, makeup, equipment, etc.) and to the post-production side (compositing, photo editing, retouching, grading, and so on).
At the start of my photographic journey, I’d often find myself thinking, “How on earth am I actually meant to do this in real life?” – and that’s exactly what I enjoyed most about it. Every project was a bit of a challenge and a leap into the unknown, with my only certainty being my creativity and the skills I’d acquired.
Now and then, a project might not go particularly well or turn out the way I’d hoped, but that’s alright. I think it’s a natural part of the process; something you can learn from, both about yourself and your work.
Your work gives the impression of a collaborative effort, but in reality, you’re the creator of almost every element – costume, makeup, 3D world. Do you see yourself as a kind of “Renaissance” artist who brings multiple disciplines together?
Yes, I suppose I am. (laughter) I enjoy spending my free time refining my skills, and that often leads to me expanding the range of my interests and hobbies without hesitation.
That’s actually how I got from graphic design and 3D into concept art, from concept art into costume and makeup, and then through costume and makeup into photography and video.
One big advantage of this is that I can prepare and organise everything myself. There’s no set I want to shoot on? No problem: I’ll create one. I need armour and a sword for a shoot? Fine, I’ll model them, get them 3D-printed and then paint them to look aged. I need a wig, or to dye my hair? Alright, that’s not a problem either. And so on, and so on. It actually saves a lot of stress when it comes to project planning…
How do different media come together in your work process? Do you start with a visual idea, a mood or something more internal?
Honestly, it often starts with a feeling or a gesture. My personal work is something like art therapy. I often work with tropes or characters that embody a particular emotional experience, such as sorrow, compassion, inner conflict and revenge, protection, solitude – but also rebirth, detachment or liberation.
Usually, almost always, I start with illustrations. Sometimes on paper, sometimes digitally. At that stage, I focus more on the emotion and the gestures of the character, the composition of the scene, and the role the character plays within it.
The next step is a moodboard, where I collect all my visual references. I then re-render the sketches – redraw them in more detail – and start building a fuller atmosphere for the shoot, including clothing, details (like jewellery, makeup, hair), and begin searching for the final composition. I also often use reference images – whether they’re screenshots, photographs, or other artists’ illustrations, architecture, clothing pieces, or photobashing (a technique where multiple images are layered to create a new cohesive one). Anything that helps me reach the final vision is welcome.
The final step, as I mentioned before, is to figure out how to actually make it happen in the real world. Sometimes the answer is simple and just requires complex lighting, but other times the project calls for a more dedicated approach – and the solution lies in 3D projection.
At that point, it’s entirely up to me how difficult I want to make it for myself. Unfortunately, I’ve earned a bit of a reputation among my friends and classmates as someone who enjoys a bit of suffering – so, there you go. (laughter)
What are you working on right now? Are you exploring any new themes or techniques that you’re keen to develop further?
Lately, I’ve been collaborating a lot with my friends and classmates from the Fashion, Footwear and Animation & Film Studios. I’ve always found fashion photography appealing for its elegant and creative editorials, while animation breathes life into static images and amplifies the viewer’s experience.
That’s exactly what I’m aiming for right now. Over the summer, I’d like to prepare a final storyboard for my bachelor’s project, which will combine photography, costume, makeup, set design, video, 3D animation and illustration (and probably a tonne of other things).
Outside of uni, I’d also like to spend a bit more time doing makeup again, and maybe put together a fun makeup and hair editorial just for the joy of it. I’ve come across a few entertaining practical effects recently, and I’d really like to experiment with them.
This year’s theme, GILDED LURE, explores the idea of a gilded surface – something that might carry traces of illusion or pretence. Have you ever created something that felt “too beautiful”, to the point that it may have distracted from something more essential?
Oh, definitely. I actually found my way into photography through self-portraits. I used to think they’d be my “main” body of work, but over time, I realised that this portrait aspect of my work is a kind of self-reflection – a window into the deepest parts of my soul. What began as a brilliant well of creativity and expression gradually became a mirror for self-understanding and inner dialogue.
