Through the lens of Clair, Kayn et Vincent

CLAIR BRAVO

How would you describe your identity as a photographer?

It’s always difficult to define yourself. My approach lies at the intersection of reality and fiction. It’s a sort of game—both technical and intuitive—born from the intrinsic contradictions of photography. You capture reality, but at the same time, you rearrange it through signs and references. In my documentary work, I increasingly focus on themes that resonate with me personally, such as representation of the queer community. Yet even there, I continue to explore that threshold between reality and imagination. I think carefully about my images and aim to highlight what often goes unseen. For a while, I was fascinated by the traces people leave behind. That tension between the visible and invisible nearly always appears in my photos.

How did you experience this project?

The world of opera was entirely new to me. What a delightful discovery! I applied without many expectations, as I’m always open to something new. What truly surprised me was how vast and rich this world is. The backstage areas, the auditorium viewed from the stage, the workshops… When I described it to friends, I often said: “You really have no idea how immense it is!” There’s so much work behind each production, spread across so many disciplines—each team with its own identity. Even the spaces all have different atmospheres. What touched me most was the dedication of everyone working at La Monnaie: behind every detail you see on stage, there’s a person.

What were the biggest challenges?

The sheer volume of potential images. So many things caught my eye, but I had to stay focused on capturing the backstage. I had to stop myself from lingering on every detail. Because I shoot digitally, I ended up with thousands of photos. Making the final selection was a long process. For large projects, I keep nearly everything. I then analyze image by image: composition, colors, the strength of the visual story. I also like to get feedback from someone else to challenge my choices. That’s how I gradually arrive at a final selection.

Which production intrigued you most while exploring the new season?

Visually, I was especially drawn to Norma. The idea of a grim, industrial parking garage with floating cars, in front of a hall full of red velvet and gold ornaments – how fascinating! My appreciation for symphonic music also grew during a rehearsal at Bozar, when I saw the musicians arriving one by one with their instruments. It was so exciting to discover all these new things…

KAYIN LUYS

How would you describe your artistic practice?

I’m particularly fascinated by the interaction between fact and fiction within an image. It’s a playing field you can shape yourself, and I love drawing inspiration from my immediate surroundings—for example, by re-staging everyday moments. These controlled images create a specific frame for reality: what’s depicted is real, but I’ve shaped it to my vision. That tension—what’s real, what’s not?—really intrigues me. A good example is the campaign image for Idomeneo: if you look beyond the everyday, you’ll discover subtle visual cues that open up the image.

That approach seems a good fit for an opera house. How did your creative process unfold here?

As a young photographer just finishing my studies, it was a gift to arrive in such a welcoming place. We were given full trust in our personal vision and the freedom to develop it independently. That freedom was also quite a challenge: how do you work around a production that’s still in development? After a tour and some exploring, I was struck not only by the grandeur of opera but also by the meticulous work backstage. Every detail—from a stone to a shoelace—is crafted with care in the workshops. That craftsmanship, which is often invisible to the public, was especially valuable to discover.

Your first encounter with opera is complete. What are you most looking forward to next season?

I’m really curious about Ali. I think it’s incredibly powerful to bring urgent, contemporary stories to the stage in such a fresh way—within a genre that often has a traditional image. The fact that there’s room for new voices and diverse perspectives is very encouraging.

VINCENT DANKAERTS

How would you describe yourself and your artistic practice?

I would describe myself as an image-maker driven by a deep fascination with analog photography. Shooting on film—often with large format cameras—forces me to observe more consciously. While my images emerge from spontaneous encounters and everyday fascinations, time plays a crucial role in my work. The time between the encounter, the shot, the development, and the final image is integral to my visual language. I’m driven by curiosity and wonder in a world full of remarkable people. What connects my work is a constant urge to capture each moment and preserve it as a memory of what once was. Recently, I started building my own camera as a way to bring the analog process directly to people. It’s a wooden, light-proof box. The camera not only takes pictures—it also acts as a mobile darkroom. Images are developed inside the camera, after which they serve as tangible mementos. This way, I invite people into the process and let them experience that slowness that fascinates me so much.

How did you experience the journey at La Monnaie?

I was deeply impressed by the workshops. In a world where everything seems automated, it was refreshing to see people creating art by hand every day. Capturing that craftsmanship was a unique opportunity. The fast-paced nature of the environment took some getting used to— I had to adapt my slower working method. But that too was a valuable learning experience, as it allowed me to try out a more direct style in a new context.

Can we already call you a budding opera lover?

Absolutely! I think this project gave me one of the most special and privileged introductions to opera. With my Young Opera subscription, I’m looking forward to exploring further next season. I can’t wait to keep discovering everything that goes on behind the scenes to bring this art form to life.