Are you from a creative family? Is it in your blood to make things? 

My Texan grandfather was an advertising manager for a valve company in the oil industry, but first and foremost, he was an amazing painter. I remember being fascinated by a self-portrait he painted, which hung at my grandparents’ house in Houston. As a child, I used to draw a lot, mostly making my own comic strips, and I’m sure he had some influence on that. He also took photos, mostly of his family, with a Yashica Mat-124. It’s only recently, while looking through his photo albums, that I realized how good a photographer he was. 

My interest in photography, however, came from my father. He’s been collecting analog cameras and photo books for as long as I can remember, and he used to develop and enlarge film in his darkroom. He was the first person to teach me about analog photography and how to use a camera. My father comes from a lineage of carpenters in the south of France. He and his family are all very crafty and resourceful, and I think I carry that same drive when pursuing my projects. 

What has the combination of life in Texas and Berlin done to your brain? 

If we exclude Austin, a famously diverse and progressive city, Berlin and Texas are culturally very different. Taking masculinity as an example, the central theme of my photography work, traveling between Berlin and the ranching community of Texas has been an unsettling experience in this regard. In Berlin, we are exposed to diverse expressions of masculinity, which I see as one of the city’s strengths. And by comparison, I recognize that I tend to follow more traditional patterns of manhood.

On the other hand, within the ranching community of Texas, which is usually more conservative, it can sometimes be difficult for me to connect with other men. But masculinity is never one-dimensional, even in that context. What captivates me are the moments or interactions between men I’m able to witness that challenge the stereotype of traditional masculinity. And navigating these two very different environments has helped me better understand myself as a man and the social constructs I’ve grown up with. It’s also taught me to be more understanding of people’s different backgrounds, something I’ve come to see as a strength in a world that often feels increasingly polarized. 

Can you recall the first time you captured an image that you were really proud of? 

I try not to stay too attached to old images I’ve made, which I think helps me grow as a photographer, so it’s hard for me to recall the first time I felt proud of a specific photo I took. But I do remember the moment I realized how photography could push me into interesting situations and introduce me to people from different backgrounds. 

I remember a time, back when I was younger and not yet too serious about photography, when I was visiting family in Virginia. I was wandering around town with my parents’ Yashica T4, my favourite point-and-shoot camera, looking for something worth photographing. I ended up spending the afternoon in the bushes with a couple of guys I met who were living off-grid. The photos didn’t turn out great, but I remember feeling proud that my camera had led me to an experience I would never have had otherwise. 

Looking back, I think a lot of the most intense and meaningful moments in my life wouldn’t have happened without photography. My drive to take the best possible pictures has, in a way, helped me live twice as much as I was supposed to. 

What subjects or situations do you find yourself drawn to photograph these days? 

I’m usually drawn to photographing people, whether it’s their facial expressions, gestures, or interactions with others. Any human detail that might carry an open, symbolic meaning. I believe these types of ambiguous or unsettling images are the most powerful, the ones that don’t offer a direct meaning and can tell several stories. Images that leave you unsure of how to feel after seeing them. I think I’m particularly drawn to subjects that represent social constructions because they offer so many layers to dig into. With my images, I enjoy playing with stereotypes to reveal something more honest or unexpected about the people I photograph.

Can you describe a photo that you currently have in your home? What is it, who took it, and what do you like about it? 

My favourite photograph at home is a black-and-white portrait of my mother and her younger sister when they were children. It was taken by my grandfather in front of an abandoned storefront, swallowed by tall grass, somewhere in the Texan countryside. The photo sort of reminds me of the work of Walker Evans. Beyond the emotional attachment I have to it, the image gives me a sense of nostalgia for childhood summers. I can almost feel the stillness of the Texan humidity in the photograph.

What’s the story behind your winning image? It’s quite a striking portrait. 

I met Jonathan during the World Series of Team Roping in Levelland, Texas, back in August 2024. He was resting by his truck near the arenas, waiting for the next rodeo. From what I learned about him, he’s been making a modest living by training horses and competing in rodeos. I think he was pretty nervous about the whole competition. And I can’t blame him. Rodeos are among the most dangerous sports in the world, and it’s a very competitive environment. A lot of participants are really counting on the prize money to make a living. 

As I was observing him while he rested and spoke to a friend, he started biting his finger—something I would probably do too if I were anxious before an important event. Around here, people don’t show many emotions or talk about how nervous they are. Stoicism is a real thing. They all act like nothing can shake them. So, it was great to witness and capture a moment of vulnerability that presented itself so naturally to me. 

Can you talk a bit about your Memories of Dust series and your interest in examining the idea of the cowboy? 

Memories of Dust is a long-term project about traditional masculinity in Texas, in which I examine the myth of the cowboy and its place in an evolving society. For this work, I spend time on ranches and immerse myself in the daily life of the local community. In addition to photographing the people I meet, I also work alongside them and learn about their lives and the realities of being a cowboy, which I then contrast to the cultural myth.

Growing up in several countries and experiencing different cultural environments has introduced me to diverse approaches to masculinity. This has led me to reflect on myself as a man and to question the kind of masculinity I grew up with. I’m particularly interested in how visual media has influenced my interpretation of gender roles and the visual symbols used to express masculinity. For example, Westerns and other movies with strong male leads have shaped my beliefs about what a “real” man should be. While there are positive aspects to how male heroes are portrayed, I believe sometimes this narrative can be misleading and not always a healthy image for boys who look up to these heroes. 

With this photography project, I hope to help rethink the narrative of the male role model in a more honest way. Especially the cowboy figure, which is still today an important influence in Western pop culture. 

Finish this sentence: “For me, photography is…” 

… a way to get closer to the other.

What camera or lens are you enjoying the most lately? 

I recently bought a Pentax 645. It’s a relatively compact medium format camera compared to other models, which I find very convenient since I’m always on the move and often traveling with other cameras and gear. Lately, though, I’ve mostly been shooting portraits of artists and friends in Berlin with it. 

What’s the best piece of advice anyone ever gave you? And who gave it to you? 

I don’t know if this is the best piece of advice anyone has ever given me, but it’s the most recent one that stuck in my head. When things aren’t going well with my projects, I tend to overthink and immediately come up with plan B’s. My father once told me to just focus on what I’ve decided to do and put all my energy into making it happen, instead of wasting time looking for alternatives. The advice helped me, and I ended up sharing the same with people around me. If you want to do it, just go for it. As long as it hasn’t unmistakably failed, it can still work for you. 

I saw that you studied music production, are you making any music of your own? 

I used to produce electronic music, but I don’t think it was meant to be my medium. I didn’t quite have the right talent for it. Still, making music was a great creative exercise for me. I was particularly drawn to recording soundscapes, which I would then transform into ambient or experimental tracks. Everything I learned about field recording and music production, I’m now applying to the audio aspect of my photography project Memories of Dust. For example, I recently recorded conversations with Texan ranchers, discussing topics such as the myth of the cowboy, ranching culture, and masculinity in Texas. These recordings have been selected and sequenced into a 30-minute soundtrack, interwoven with field recordings, to support the narrative of the photographs. It’s available on Spotify under my name.

What’s your favourite recent music discovery? 

I recently discovered an artist called Levi Ryan, an electronic music producer. His album operation wandering soul was one of my best findings last year, and I’ve been following his work since. His musical influences and aesthetics feel very European—especially in regards to what’s being done today within the realms of electronic, dance, and experimental music—so I was surprised to learn that he’s from Texas. I’m always excited to discover the different scenes, especially in electronic music, that are developing in a state mostly known for country and hip-hop. 

What’s one thing you’d like to accomplish in the next year or so? 

In the next year, I would like to return to Texas at least once to finish my ongoing photography project Memories of Dust. By finishing the project, I mean finalizing the main selection with new images I will make, with the goal of creating a photo book. I believe the photo book is a great way to conclude the project, giving it a final physical form and contributing to the Texan cultural heritage in a lasting way.

What about one thing you’d like to accomplish in your lifetime? 

Honestly, I just want to achieve something in life that I can truly be proud of. It might not be photography, or even anything art-related. It could be a way of thinking, a lifestyle, the relationships I’ve built, or simply the way I treat people. Maybe I’ve already achieved it, but I don’t have the right perspective to see it yet. Time will tell.

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