Sexperimental began as a need to make something real—something physical. A personal form of storytelling. Each copy is unique, handcrafted, and shaped by the unpredictable rhythm of the creative process.
It started in hotel rooms. These in-between spaces—temporary, anonymous—turned into makeshift studios, cinematic backdrops, places to improvise. I wanted the book to carry that same energy, so I began weaving in hotel stationery, scribbled notes, and hidden elements tucked between pages.
There’s no single way to experience Sexperimental. It’s meant to be handled, interpreted, explored. The texture of the paper, the scent of ink, the weight of the materials—they’re all part of how the story unfolds. Each page is a scene, a fragment, a moment suspended.
Every reader becomes part of that process. Curating their own version. Like the moments behind the lens, no two copies are ever the same.
you don’t choose what interests you
it chooses you
sometimes it’s painful sometimes it’s better than anything what ever happened to you
him: you look like a dream
her: dreams are fleeting, darling. I prefer to be tangible
come closer
him: what is it you want from me?
her: want? such a strong word. perhaps I simply want to enjoy the view
— i almost didn’t include this
the scent of her aroma perfume mingled with the faint aroma of cigarette
smoke clinging to his jacket creating an intoxicating atmosphere of anticipation
Muse:
am I your prey?
Photographer:
no
you’re the weapon
Muse:
then why are you shaking?
Photographer:
because I want to be caught
Muse:
how far is too far?
Photographer:
right past good taste. But not into bad taste
Muse:
and who decides?
Photographer:
I do
frame by frame
a woman a femme fatale embodies my favourite subject - strong confident and unapologetically daring
2020 NYC
the most important aspect of a woman’s figure is her eyes her gaze inner radiance. it is the most sensual and attractive thing. everything else is…
maybe another reason I photograph women is because I am afraid (not frightened or scared) of them in a way
and photography gives me some sense of control over the situation
those photographs can tell you more about me than models I shoot
often even the model is dressed, my photos may create the impression that she is naked
undressing isn’t that difficult, but keeping her dressed is an effort and a challenge
— touch it like a memory you forgot you had
tonight, he would unravel another layer of the mystery that she was
and he would relish every moment of the pursuit
him: you’ve even more breathtaking than I remember
her: flattery will get you everywhere. But I appreciate the enthusiasm
out of focus almost not there
stockings corset stillness
she looked like a memory you weren’t supposed to keep
the game was underway and she the master player was poised to lead him on a thrilling adventure through the labyrinthine streets of paris and into the depths of her enigmatic allure
— rue lauriston studio, paris
early march 25
— rue lauriston studio, paris
early march 25
where did that take you?
you tell me … you are the one pulling the strings
my main ambition passion and calling is to see women who come to me for shoots or in life not just be dazzled by their beauty but to remain clear sighted and composed in their presence
it’s bot about mining or controlling but about finding a way to reveal the light of their inner beauty
that shines through their magical forms pulsating with rhythm in every movement pose and glance creating a unique enchantment
— some pages are ment to be felt not dead
him: this can’t last forever, can it?
her: some things aren’t meant to last but doesn’t it make them any less beautiful
her: you want me to open it?
him: want” no. but I do wonder … will you?
him: it’s a strange thing to be drawn to something you fear
her: fear? now that’s not a word I hear often, especially not from someone like you
i don’t question reality or real life in my photography. my genre is not documentary
i am not looking for truth based on facts. i am capturing emotional truth
J.T.
Muse:
is any of this real?
Photographer:
I’m not here for facts
Muse:
then what are you after?
Photographer:
emotion. the kind that doesn’t lie
my city drowns in silver rain
each drop awakens deeper pain
no words to ask no way to say -
are we still playing the same game?
do we lose or do we win?
no space for in-between
PARIS 2025
— slip inside
her: change? that’s a dangerous word. change can break you.
him: or it can set you free. don’t you want to find out?
I have no shape, no defining lines
To hell with the meaning of suffering signs
I don’t trust words nor the scars they leave
And breaking bones is not enough for me
I searched for the roar of a tidal wave
In the rushing winds the call my name
I am not yours nor theirs to claim
Yet something linger all the same
And falling from the cliffs, only cowards plead, clutching the rocks with
Trembling need.
___
Во мне нет ни формы не очертаний
К черту смыслы страданий
Я не верю в слова и не верю шрамам
И костей себе я не ломая мне этого мало
Я в потоках ветра ищу звон цунами
я не твой и я не с вами но это между нами
и падая со скал только трус цепляется руками
MOSCOW 2019
Muse:
why do your photos feel like unfinished stories?
Photographer:
because I like the viewer to want the next scene
Muse:
and what happens next?
Photographer:
depends who’s watching
skyline view one leg up
hair falling
back arched heels steady
she is not admiring the city
she's daring it to admire her
— variation two
we end here unless you don’t