BOOKS
Sexperimental
10 Unique Variations
I wanted something in the shape of a book — just not the classic kind, with a spine that tells you where to start and a last page that tells you it's over.
At first I was just collecting things — photographs, notes, conversations, ideas, moments that stuck around longer than they should have. Over time they started talking to each other.
Really, I just wanted to open up. Somewhere in there, Sexperimental stopped being just a photography project. It turned into a space where different parts of my work could actually meet — images, writing, imagination, memory, questions, stories that may or may not be true. A way to show the muses as more than one image, more layered, part real, part fiction, the way fantasy actually lives inside a real person. My take on beauty, on photography, all of it in the same room.
Never wanted this to feel polished or finished. Wanted it alive instead — something meant to be felt, not just looked at, for the eyes, the hands, the whole body while you're holding it.
Open it from the beginning, the middle, wherever. There's no right way in. Every page leads somewhere different. Less about answers, more about staying curious enough to keep going.
If I'm honest, the whole thing is really just a statement about falling in love with life. That's what I was actually trying to say.
The title's exactly what it says. It's an experiment.
Still is.
Price on Request
10 Unique Variations
I wanted something in the shape of a book — just not the classic kind, with a spine that tells you where to start and a last page that tells you it's over.
At first I was just collecting things — photographs, notes, conversations, ideas, moments that stuck around longer than they should have. Over time they started talking to each other.
Really, I just wanted to open up. Somewhere in there, Sexperimental stopped being just a photography project. It turned into a space where different parts of my work could actually meet — images, writing, imagination, memory, questions, stories that may or may not be true. A way to show the muses as more than one image, more layered, part real, part fiction, the way fantasy actually lives inside a real person. My take on beauty, on photography, all of it in the same room.
Never wanted this to feel polished or finished. Wanted it alive instead — something meant to be felt, not just looked at, for the eyes, the hands, the whole body while you're holding it.
Open it from the beginning, the middle, wherever. There's no right way in. Every page leads somewhere different. Less about answers, more about staying curious enough to keep going.
If I'm honest, the whole thing is really just a statement about falling in love with life. That's what I was actually trying to say.
The title's exactly what it says. It's an experiment.
Still is.
Price on Request
Vernissage at Lapérouse, 2025
I didn't want to just launch ten books in a room and call it a salon. I wanted to build the actual feeling I put into the work — so people didn't just look at it, they'd stand inside it for a night.
Picked Laperouse on purpose. Low light, lower music, that particular Paris thing where a room fills up without anyone deciding to arrive. No host moment, no toast, no center — I didn't want a stage, I wanted proximity. Let people find their own way into it.
Had the Maison Close girls moving through the crowd, not performing anything, just existing close — because that's closer to how the work actually feels than any speech I could've given. A look held a second too long says more than an explanation ever would. Caviar passed like a cigarette, nobody commenting, everyone noticing. That's the whole tone I wanted for the night.
Built the soundtrack the same way I build a shoot — Deeply Dstrbd, Ivan Dorn, Stas, nothing you just listen to, something that happens to you slowly enough that leaving starts to feel wrong.
By nine the room stopped being a room. That's the actual goal every time I make something — not an event people attend and leave, but a mood they agree to enter without ever being asked to.
Didn't want it to end. Wanted it to just keep unbuttoning, the same way I want the books to.
Picked Laperouse on purpose. Low light, lower music, that particular Paris thing where a room fills up without anyone deciding to arrive. No host moment, no toast, no center — I didn't want a stage, I wanted proximity. Let people find their own way into it.
Had the Maison Close girls moving through the crowd, not performing anything, just existing close — because that's closer to how the work actually feels than any speech I could've given. A look held a second too long says more than an explanation ever would. Caviar passed like a cigarette, nobody commenting, everyone noticing. That's the whole tone I wanted for the night.
Built the soundtrack the same way I build a shoot — Deeply Dstrbd, Ivan Dorn, Stas, nothing you just listen to, something that happens to you slowly enough that leaving starts to feel wrong.
By nine the room stopped being a room. That's the actual goal every time I make something — not an event people attend and leave, but a mood they agree to enter without ever being asked to.
Didn't want it to end. Wanted it to just keep unbuttoning, the same way I want the books to.
28 April — May 5
Le Marais, 2026
Le Marais, 2026
A year ago, I presented Sexperimental for the first time and now it’s back. This time in a gallery in Le Marais, Paris. Not for one evening, but for an entire week. The project is still the same, but so am I — and at the same time, I’m not.
Over the past year, I went back to all ten books. I revisited them, reworked them, questioned them, and looked at them through everything I’ve experienced since they were first shown.
I wasn’t interested in improving them. I was interested in understanding them. Some projects give you answers. This one keeps asking new questions.
The more time I spend with Sexperimental, the less it feels like a collection of books and the more it feels like a living conversation between photography, writing, memory, imagination, and desire.
The women remain at the center of everything. Not as subjects, but as muses, catalysts, and mirrors. Every story, image, and emotion begins there.
And femme fatale was never just an aesthetic for me. It’s a presence. A tension. Something impossible to fully explain but instantly recognizable when you feel it.
This exhibition isn’t really about looking at books.
It’s about stepping inside the world behind them.
The thoughts, doubts, obsessions, fantasies, and contradictions that exist before an idea becomes clear.
Some things became sharper over time. Others became more mysterious. I stopped trying to simplify them. Instead, I followed them deeper.
What you’ll find here is not a finished statement. It’s a process still unfolding. An invitation to slow down, wander through the layers, and maybe discover something that connects with your own experience.
Because Sexperimental was never just a book. It’s a doorway into a certain state of mind.
And at the center of it all is still the same thing that started it in the first place: falling in love with life.
Over the past year, I went back to all ten books. I revisited them, reworked them, questioned them, and looked at them through everything I’ve experienced since they were first shown.
I wasn’t interested in improving them. I was interested in understanding them. Some projects give you answers. This one keeps asking new questions.
The more time I spend with Sexperimental, the less it feels like a collection of books and the more it feels like a living conversation between photography, writing, memory, imagination, and desire.
The women remain at the center of everything. Not as subjects, but as muses, catalysts, and mirrors. Every story, image, and emotion begins there.
And femme fatale was never just an aesthetic for me. It’s a presence. A tension. Something impossible to fully explain but instantly recognizable when you feel it.
This exhibition isn’t really about looking at books.
It’s about stepping inside the world behind them.
The thoughts, doubts, obsessions, fantasies, and contradictions that exist before an idea becomes clear.
Some things became sharper over time. Others became more mysterious. I stopped trying to simplify them. Instead, I followed them deeper.
What you’ll find here is not a finished statement. It’s a process still unfolding. An invitation to slow down, wander through the layers, and maybe discover something that connects with your own experience.
Because Sexperimental was never just a book. It’s a doorway into a certain state of mind.
And at the center of it all is still the same thing that started it in the first place: falling in love with life.
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