Resonance of Vulnerability:
Reframing the Male Form
HeyBoy Exclusive
Resonance of Vulnerability:
Reframing the Male Form
HeyBoy Exclusive
Photographer: Elodie Carrel
Paris
HeyBoy Exclusive
Q) The human form, especially in its most natural state, is a recurring theme in your work. What first drew you to explore the nude figure, and what stories do you hope these images tell?
A) First, most classical paintings represent nude women. Second, I read an article where a woman was outraged at Helmut Newton for supposedly objectifying women. In contrast, I saw Newton’s work as empowering, with a sense of dangerous beauty that is so alluring. Sex in his photos is an instrument of power, not submission. Specifically, I chose the nude as a tribute to classical art, inspired by Delacroix and ancient Roman statues. Greek statues often depicted idealised male figures that embodied both physical perfection and inner tranquility. They were symbols of both strength and grace, capturing a balanced human essence. I like to bridge this classical ideal with modernity, showing men not just as symbols of strength but also of vulnerability and humanity.
I chose these men because they were openly vulnerable who understood the preconceived stereotype that they should only be performers, display physical strength, or anything masculine that we were fed. I believe this to be a step towards gender equality.
Q) You’ve lived in the vibrant streets of New York, the serene landscapes of Switzerland, and now, the artistic heart of Paris. How have these places shaped your understanding of beauty and influenced your art?
A) All of these places feel familiar, but I could never say that I truly belong to any one of them. I’m comfortable saying that I am from nowhere, and nowhere is a place in itself. This detachment often makes me feel like a premature ghost to this world.
For the places mentioned, I didn’t grow up in NYC itself but in its suburbs, in Westchester County. Of course as a curious teenager there was a strong desire to escape the suburbs and go to the city as often as possible. Moving from New York to Switzerland was a culture shock, initially leading to a sense of boredom. I don’t believe my practice can be defined solely by these places, but rather by what I did there. I am mostly stimulated by ideas, and energy rather than places.
In Switzerland, where I studied science, I developed the ability to think abstractly and decompose problems, skills that have influenced my work. Artistically, I felt frustrated in Lausanne, where the prevalent minimalist art and design scene felt limiting. If living there had an effect, it was certainly going in the opposite way from the city’s inclination for safe art.
At that time, I was obsessed with 70’s New York, and collected a big deal of books and magazines produced in that era, especially regarding the birth of punk music. With not much musical rigour, punk represents raw, gut-level energy, which resonated deeply in me, and then in my work. Paris, though not a visually major source of inspiration for me, contributed through my French education. The unapologetic approach to “dangerous beauty” seen in figures like Delacroix and designs from Yves Saint Laurent is a pursuit I know I may never fully pin down, but one worth striving for. I also have a strange relation to beauty that I always connect to pain, and the reason for that is still unclear to me.
Q) Take us through a day that filled you with boundless inspiration. How did that energy translate into your work?
A) I have never lived such a day. My ideas often come from a reaction to something and come up on the most random things I do, such as when I transit through a city, a walk, in a museum seeing something I hate, while swimming, or while grocery shopping. I don’t think I’ve ever had multiple incredible ideas when I felt truly content, with a wonderful view in front of me. They often come at different intervals, and randomly. When an idea is worth pursuing, I will have a pang in my gut, and then I will have to write it down, as I’ve forgotten quite a few ideas in the past already, and it’s a terrible experience. A lot of my ideas do end up not getting fulfilled either because I’m still developing them, and more often than not, because in the end, they weren’t that great to begin with. I learned with time that the ideas that end up getting pursued are the most interesting as I get more ideas by simply choosing to work on one.
Q) Storytelling is at the core of your photography. How do you weave together different artistic disciplines to craft these compelling narratives?
A) In science, all disciplines feed upon another, the mother of all being mathematics. I always believed that it should be the same, if not even broader in art. How can a photographer bring enough depth to his work if he is only inspired by only one other photographer? He will never be as good as his reference because his work will only be a poorer copy.
Artists can really benefit from cross discipline collaboration. I particularly appreciate when a work of art has many different layers of interpretations to it. Imagine the results of the collaboration between a poet with a photographer, a painter with a material engineer, a mathematician with a sculptor. The possibilities and outcomes are endless and fascinating. In this particular shoot, I was inspired by paintings which is a neighbouring discipline to photography. In the past, I used philosophy to go further in the Absurd, or physics to explore Nothingness. I do have other projects in mind for the future which entail mathematical concepts, and climate science. It’s important to feed one’s idea with references to create depth, but the most crucial aspect of a work is to actually be saying something as art is a language above all.
Q) Your work beautifully highlights the sensitivity and vulnerability in men. Why do you feel it’s crucial to showcase these traits, and how do you approach this theme with such grace?
A) In a world marked by such strong polarisations based on race, gender, and class, I think it’s crucial to challenge the dominant narratives that prescribe a singular type of “male” presence. Patriarchy imposes detrimental influences on both women and men, with men also being compelled to conform to socially imposed roles. In heterosexual men, sensitivity and vulnerability are often overlooked or suppressed. Men should embody physical strength and stoicism which is unrealistic and a limited illusion.
I make a priority to build a personal connection with the people I photograph. I start breaking the ice in order to get their trust by starting with a Proust questionnaire. I am looking to capture genuine moments of introspection, and want these men, as individuals to let their true selves be. These photoshoots also require a lot of patience. They usually last 2-3 hours. When they do “fly” by letting themselves go, I truly have a feeling of lasting euphoria. It truly is the most beautiful moment to witness in the process.
Q) Imagine you could collaborate with any artist, from any era. Who would it be and what kind of magic do you think you’d create together?
A) I firmly believe in the transformative power of cross-disciplinary creativity. Alone, I sometimes exercise by starting with a random word from a book and building a visual interpretation from it. Naturally, I’ve always wanted to collaborate not just with other artists, but with scientists, writers, poets, musicians, and philosophers. It’s not about choosing one; it’s about finding someone who shares my values, where our work can complement each other. Fame isn’t the point—what matters is that they’re fully immersed in their craft, driven by passion and are inhabited by a burning inner fire. For me, art is about connecting different languages and ideas.
Q) Every artist faces challenges. What’s the most daunting part of your creative process, and how do you navigate through it?
A) Fear of failure. It’s the greatest challenge for me, and it takes real courage to confront the fact that perfection doesn’t exist. Writing this sentence is still painful to admit. For a long time, I struggled to complete projects because I truly get pleasure in generating ideas. While it seems obvious, I eventually realised that without applying and developing these ideas, they remain mere concepts. I now approach my work as if it were a regular job. Imagine someone showing up at an office with everything perfectly planned in their mind but never taking action—they’d be out of a job in no time.
I used to be anxious about creating anything unless it was thoroughly planned out in advance. But I’ve found that my anxiety subsides when I actively work on developing what I want to express. I still pre-plan (draw my photos before shoots) as much as I can, partly due to imposter syndrome and the persistent feeling of inadequacy. In this case, though, pre-planning has become a reassuring process rather than a burdensome one. Fear of failure is actually the most burdensome aspect of any process and should be fought against.
Q) Photography has the power to change perspectives. How do you believe your work contributes to social change and awareness?
A) I’m not sure if my work has yet achieved the visibility necessary to effect widespread social change, and I don’t presume to impose my views on others. What I hope for is a constructive dialogue that draws out nuances and encourages deeper understanding. Art is a language and thus should be prone to reactions, dialogues, debates. It shouldn’t be confined to sterile gallery spaces where it often feels detached from real discourse.
If my work gains more visibility, I aim to foster empathy and encourage viewers to reconsider their perspectives on heterosexual masculinity. My goal is to engage those who hold the most rigid views, the machos and the sexists, to challenge their preconceptions, and to encourage a broader, more nuanced view of male identity.
Q) When you’re not behind the lens, what activities or rituals help you unwind and find balance?
A) I’m deeply passionate about mountain activities like alpinism, ice-climbing, and ski touring. My piece of heaven is in the Valais, a mountainous region in Switzerland, a country that holds a special place in my heart. This place feels like a motherland; it grounds me yet always elevates me in all possible ways. Here, I get to challenge myself, earn people’s trust, and am comfortable taking calculated risks.
A trait I admire most in humans is their ability to surpass their inherent conditions, as seen in the invention of aviation, music, mathematics, and alpinism. The high mountains are harsh and unforgiving, and climbing frozen waterfalls—something humans were never meant to do—is what makes this pursuit so thrilling. I actually love uncomfortable situations, which is what I experience at great heights. I’m seeking that moment of extreme focus on a ridge where any mistake could be catastrophic. In that moment, time seems to stand still and I learn to control my fear or excitement. The stark, cold air against my sweat and the dramatic, monochrome landscape are worlds apart from reality, which is why I love this so much.
I experience a similar intensity in photography, where any mistake might mean wasting someone’s time and facing a vertiginous disappointment. Time stops when I’m behind the camera. My focus narrows to capturing a genuine emotion from my subject. Both pursuits demand a high level of precision and dedication.
Q) Your photos invite viewers into intimate, emotional spaces. What do you hope people feel or take away when they experience your work?
A) Nuances. The human mind is prone to laziness, constantly seeking shortcuts by putting things into boxes. This tendency should be avoided at all costs. Browsing social media or even newspapers—though I hope most people don’t rely solely on these—reveals how quickly people draw conclusions, point fingers, and label content without a second thought. Nuances are grossly underrated. Most subjects are shades of gray, not black and white. People should always question things and engage in open, intelligent debates that push thoughts further than where they began, allowing for continuous building rather than pointless blaming. The format of social media contributes to a decline in thoughtful discourse. Headlines and short sentences are crafted to capture immediate attention, making nuanced discussion nearly impossible. But I digress. I hope people walk away with more questions than answers. One of my clients initially didn’t want to buy a photo because it was of a nude man. After rethinking it, he decided to buy it precisely because it was a picture of a nude man.
