Nineteen portraits. I made them one by one, each with its name, its species and its anchor culture. When I close the catalogue, I close it for real — no reprints, no exceptions. One of several series, made in the studio since 2003.
When I close a run, it stays closed. Hahnemühle Photo Rag for the Black, Fuji Crystal under matte acrylic for the XL — different materials to read different things in the same image. Every piece leaves numbered, with its hand-signed certificate and its Verisart record.
Not everything has to be a collector’s piece. The portraits also live on prints, t-shirts, mugs and backpacks — printed in Europe when you order them, no stock in between.
Each of the 19 has a real behavior pattern behind it. The test matches you with the one that most looks like you.
Subject 01scan · 
Subject 02scan · 
Subject 03scan · A large format portrait forces you to live with it. At 30 cm you look at it from the sofa; at 120 cm, it is the one who looks at you when you walk down the hall. This text explains how my process changes when I think big.
A personal tour of artists who use animals as a mirror of the human: from Grandville to BoJack Horseman, from Beatrix Potter to Beth Cavener. Why anthropomorphic portraiture matters.
07 / 04 / 25 · NOTE
A personal reflection on the Jungian shadow and how it appears in my creative process without looking for it. I talk about duality, autism, imagination and the role of art as a mirror.
Process notes, technical sheets and what happens before each opening. The Drop 01 I open for everyone at the same time. From Drop 02, I tell whoever's on the list first. I write when there's something to say.