It’s always a pleasure to come back to Ballet Junior, where I also danced before becoming a professional dancer.

I like to be as close as possible to the dancers — close enough to react to their movement, to anticipate or follow the direction of a gesture as it unfolds. Working at this distance allows me to capture not just the form of the movement, but its intensity and its fragility at the same time.

I’m drawn to fleeting details: a hand gripping another, a glance passing through space, a body leaning into or away from the group. These moments often exist on the edge of the choreography — subtle, almost invisible, yet charged with emotion.

Composition plays an essential role in this approach. I like to explore how a body occupies space in relation to others — placing a dancer in the foreground while another emerges behind, or letting forms overlap and dissolve into one another. Depth of field becomes a way to guide attention, isolating a presence or embedding it within the collective.

I’m also particularly attentive to the direction of a gaze — the way it projects outward, beyond the frame, suggesting something that cannot be seen but can be felt.

Through this series, I try to capture both the intensity and the delicacy of these moments — something suspended, where movement, attention, and emotion briefly align.