About

Roger Weiss is a Swiss photographer whose work investigates the complexity of contemporary human identity. A summa cum laude graduate of the Brera Academy of Fine Arts in Milan, he reconfigures the human body through fragmentation, hybridization, and photographic reconstruction, seeking to expose its archetypal memory.

His work has been exhibited in art galleries and fairs throughout Europe and the United States, including: Ohsh Projects, London (UK); Gallery Sébastien Lepeuve, Clichy (FR); Snap! Orlando Gallery, Orlando (US); Limonaia di Villa Strozzi, Florence (IT); Museo del Barocco, Noto (IT); Gervasuti Foundation, Venice (IT); Deutsch-Amerikanisches Institut, Heidelberg (DE); and Kulturzentrum Alte Kaserne, Winterthur (CH).

He has been featured in several leading international art and photography magazines, including: The Opéra, Kerber Publisher (DE); The Song of Songs, which is Solomon’s, Josef Weiss Private Press (CH); Doppelgänger – Image of the Human Being, Gestalten Publisher (DE); Schön! Magazine (UK); Carnale Magazine (IT); Digit! Magazine (DE); and Blink Magazine (KR).

Weiss’s interviews include: Exibart (IT), ArtsLife (IT), i-D (UK), Dazed (UK), Vogue Italia (IT), RSI (CH), and NY ARTS (USA). His collaborations encompass brands such as Apple, Enterprise Japan, Amina Muaddi, and Wolford. From 2017 to 2020, he served as the art director of Collectible DRY magazine.

Portrait

Selected Exhibitions

Two-Person Exhibition: StadtGalerie Brixen
Tutti i presenti che non sono mai esistiti
Brixen, IT
curated by Marco Pietracupa

Group Exhibition: Spazio Crea
Corpo d’acqua – Liquidità ed elemento antropico
Venezia, IT
Curated by Izabela Anna Moren (Fondazione Studio Rizoma) and Pier Paolo Scelsi

Group Exhibition: Quattrocantesimo
I PALAZZI STORICI AI QUATTRO CANTI RIVIVONO ATTRAVERSO L'ARTE CONTEMPORANEA
Palermo, IT
Curated by Roberto Bilotti Ruggi d'Aragona

Group Exhibition: Ohsh Projects
Liquify
London, UK
co-curated by Jon Baker and OHSH Projects

Art Fair: MIA Milan Image Art Fair
LOOKING AT HER
Paola sosio contemporary art milan, IT
Curated by DOMENICO DE CHIRICO

Group Exhibition: FUMES AND PERFUMES
FUMES AND PERFUMES 9.0
Stuttgart, DE (Catalogue)

Group Exhibition: Gallery SÈBASTIEN LEPEUVE
21
Clichy, FR

Group Exhibition: Museo Regionale della Bonifica di Cà Vendramin
L’energia della creatività
Rovigo, IT
Curated byi Melania Ruggini

Group Exhibition: Limonaia di Villa Strozzi
Diari Urbani
Florence, IT
curated by Chiara Massini

Group Exhibiiton: Museo del Barocco
LA BELLEZZA SOSPESA TRA VISIONE E REALTà
Noto, IT (catalogue)
curated by Chiara Massini

Art Fair: Photissima Art Fair
Welcome to the jungle!
Turin, IT
Curated by Famiglia Margini gallery Milan, IT

Solo Exhibition: PArCo | Padiglione Arte Contemporanea
Cyclical Time
Casier, IT
Curated by Chiara Massini

Group Exhibition: Gervasuti Foundation
SCREAMING SCREEN
Venice, IT

Solo Exhibition: Association Oltre la Moda, Spazio Luigi Salvioli artist representatives s.r.l. LULÙ
Milan, IT
Curated by Luigi Salvioli

Solo Exhibition: Deutsch-Amerikanisches Institut
Sospension
Heidelberg, DE
Curated by Jakob J. Köllhofer

Group Exhibition: Kulturzentrum Alte Kaserne
Start 2
Winterthur, CH
Curated by Iren Tanner

Selected Artwork

Domestic Chronotopes
Traces
Hysteria
Human Dilatations
Flat Humans
Genealogy of a Body
Survey of Human Map
Intimate Archive
Cyclical Time
Be Two
I am Flesh

Selected Interviews

Art Platform: Artfield.APP
ROGER WEISS
14 July 2025, TR
Text by Tara Karaçizmeli

Magazine: Collater.al
LE HUMAN DILATATIONS DI ROGER WEISS
7 July 2023, IT
Text by Giorgia Massari

Blog: Exibart
OTHER IDENTITY #49. ALTRE FORME DI IDENTITÀ CULTURALI E PUBBLICHE: ROGER WEISS
Issue 49, 17 feb. 2023, IT
Interviewer: Francesco Arena

Newspaper: ArtsLife
ROGER WEISS: RIELABORARE IL CORPO ALLA RICERCA DEL SUO ARCHETIPO
the cultural revolution online, 19 Jan. 2023, IT
Interviewer: Rebecca Delmenico

Magazine: Carnale Magazine
HUMAN DILATATIONS
Issue 3, 10 pages + a limited edition poster of 100,
size 203x140cm. Sept. 2022, IT
Interview by Lorenzo Ottone

Magazine: SFG Magazine
THERE ARE NO IDEAS THAT ARE NOT CON- NECTED WITH PERSONAL EXPERIENCE, DESIRES AND FEARS
12 Feb. 2022, UA
Interviewer: Sergey Gutakovsky
Translation: Angelina Petrova
Editor: Sergey Fomkin

Magazine: Swarm Magazine
HUMAN DILATATIONS
02 Sept. 2021, Prague, Czechia
Interview by Markéta Kosinová

Podcast: SPREAKER Podcast
ROGER WEISS E L’ARTE DEL KINTSUGI
00:12:34, 02 July 2021, IT
by Alessio Bottiroli
On The Nature Of Light
Un podcast di e sulla fotografia

Magazine: I-D
I CORPI DISTORTI ED EMANCIPATI NEGLI SCATTI DI ROGER WEISS PER LA COLLEZI- ONE AMINA MUADDI X WOLFORD
29 July 2021, IT
TEXT by Carolina Davalli

Blog: The Dummy’s Tales
ROGER WEISS, IL CORPO ANARCHICO
08 Feb. 2021, IT
TEXT by Francesca Interlenghi

Magazine: Art Super Magazine
ROGER WEISS: EATING, THE ACT OF CONFIDENCE
Jan. 2018, IT
Interview by Annalisa Scandroglio

Magazine: D’Scene Magazine
THE PERSPECTIVE OF ROGER WEISS
4 pages, Dec, 2017, UK
Interview by Sav Liotta

Magazine: Digit! Magazine
AUSWEITUNG DER KOMFORTZONE
8 pages, Oct/Nov 2016, DE
Interview by Von Peter Schuffelen

Magazine: Hestetika Magazine
HUMAN DILATATIONS
8 pages, Oct. 2016, IT
Interview by Valentina De’ Mathà

Magazine: Dazed
THESE PHOTOGRAPHS EXPLORE NEW PER- SPECTIVES OF FEMALE BEAUTY
26 June 2016, UK
Interview by Ione Gamble

Blog: FotoRoom
HUMAN DILATATIONS: Roger Weiss Creates Mind-Blowing Portraits of Dilated Female Bodies
02 May 2016, IT

Rubrique: Les Blogs DE l’ART HELVÈTIQUE CONTEMPORAIN
UN HOMME EN MOUVEMENT: PORTRAIT DE L’ARTISTE DE THURGOVIE ROGER WEISS
23 July 2015, CH
Interview byJ-Paul Gavard-Perret
Rubrique des arts plastiques et de la littérature en Suisse

Magazine: Vogue Italia
ROGER WEISS
05 April 15, IT
Interview by Alessia Glaviano

TV: RSI, Cult Tv
ROGER WEISS
03 March 2014, CH

Magazine: Ticino Welcome Magazine
VOGLIO SCOPRIRE NUOVI TERRITORI DA ESPLORARE E RACCONTARE
6 pages, Sept/Nov, 2013, CH

Magazine: Blink Magazine
ROGER WEISS
14 pages + Cover, 2012, Korea

Magazine: NY Arts magazine
I AM FLESH
1 page, Summer 2011, NY

Magazine: Twill magazine
35 AN ETHMOGRAPHIC PROJECT
10 pages, June 2010, FR
TEXT by Adriano Zamperini

Magazine: Fotocomputer Magazine
ROGER WEISS
Issue 67, 6 pages, April 2005, IT

Special Projects

Enterprise Japan
Carnale Magazine
Learnn
Apple
Collectible DRY
Cosha
Wolford｜Amina Muaddi
Camilla Sparksss
Schön! Magazine

Selected Publications

BOOK: Seltmann Publisher
FUMES AND PERFUMES
10 pages, 18 Jan. 2024, DE
Herausgeber / Editors: Frank Bayh & Steff Rosenberger-Ochs, Peter Franck, Bernd Kammerer, Monica Menez und Yves Noir

MAGAZINE: WeAr Magazine
We Are One
Issue 75, 1 page, March 2023. IT
Enterprise Japan FW23 Campaign

BOOK: Dumont Publisher
I SEE VULVAS EVERYWHERE
1 page, 18 July. 2023, DE
By Lisa Frischemeier

Book: Kerber Publisher
THE OPÉRA
10 pages, 14 Nov. 2022, DE
Edited by Matthias Straub Designed by Steffen Knöll Designed by Sven Tillack
Limited anniversary issue of The Opéra – Magazine for Contemporary Nude Photography – including its most famous positions of the past as well as new views on the human body

Magazine: Carnale Magazine
HUMAN DILATATIONS
Issue 3, 10 pages + a limited edition poster of 100,
size 203x140cm. Sept, 2022, IT

MAGAZINE: The Opéra Magazine
THE HUG
Volume X, 10 pages, 12 July 2021, DE

Magazine: D’Scene Magazine
THE PERSPECTIVE OF ROGER WEISS
4 pages, Dec, 2017, UK

MAGAZINE: The Opéra Magazine
HUMAN DILATATIONS
Volume VI, 8 pages, Oct. 2017, DE

MAGAZINE: Schön Magazine
HUMAN DILATATIONS
Issue 33, 10 pages, Oct. 2017, UK

BOOK: Josef Weiss Private Press
THE SONG OF SONGS, WHICH IS SOLOMON’S, 2016, CH

Magazine: Digit! Magazine
AUSWEITUNG DER KOMFORTZONE
8 pages, Oct/Nov 2016, DE

Magazine: Hestetika Magazine
HUMAN DILATATIONS
8 pages, Oct. 2016, IT

Magazine: Ticino Welcome Magazine
VOGLIO SCOPRIRE NUOVI TERRITORI DA ESPLORARE E RACCONTARE
6 pages, Sept/Nov, 2013, CH

Magazine: Blink Magazine
ROGER WEISS
Cover + 14 pages, 2012, Korea

BOOK: Gestalten Publishers
DOPPELGÄNGER, IMAGE OF THE HUMAN BEING
2 pages, Jan. 31, 2011, DE

Magazine: NY Arts magazine
I AM FLESH
1 page, Summer 2011, NY

Magazine: Twill magazine
35 AN ETHMOGRAPHIC PROJECT
10 pages, June 2010, FR
TEXT by Adriano Zamperini

Magazine: Fotocomputer Magazine
ROGER WEISS
Issue 67, 6 pages, April 2005, IT

2025｜Artfield

Roger Weiss

Artfield.app
14 July 2025, TR
Interview by Tara Karaçizmeli

You create hyper-detailed photographic artworks that could easily be mistaken for AI-generated visuals. What initially drew you to focus on the body and its place in the world, and what led you to choose photography and videography as the medium for this exploration?

My works, due to their level of detail and construction, are sometimes perceived as artificial images, but they actually are born out of an entirely artisanal process. Currently, there are no automated systems capable of enabling this kind of work: every fragment is selected, composed, and reconstructed manually, in a direct and continuous relationship with the subject. The body has always been at the center of my research because I see it as a living archive–an archetypal container of memory and meaning. It is our first tool (medium) for interacting with the world, but also the first place where a deep tension between nature and culture becomes evident. On one side, there is its organic, biological truth; on the other, the layering of gazes, rules, and expectations that society projects onto it. I’ve used photography as a means to go beyond its limitations, not to remain confined within its language. The camera becomes a tool of mediation for me–it interposes itself between me and the subject, transforming the act of observing into a process of listening. Video then adds the variable of time, of transformation and opens up new possibilities for questioning identity in its instability. The extreme detail that characterizes my work is not a formal exercise, but rather a way to slow down the act of seeing, to shift it beyond appearance. And it is from this very process that a natural, unintended but inevitable perspective distortion emerges–one that reveals the body’s complexity and ambiguity.
Le mie opere, per il livello di dettaglio e costruzione, vengono talvolta percepite come immagini artificiali, ma in realtà nascono da un processo interamente artigianale. Non esistono, al momento, automatismi che consentano una lavorazione di questo tipo: ogni frammento è scelto, composto e ricostruito manualmente, in una relazione diretta e continua con il soggetto. Il corpo è sempre stato al centro della mia ricerca, perché lo considero un archivio vivente, un contenitore archetipico di memoria e significati. È il nostro primo strumento di interazione con il mondo, ma anche il primo luogo in cui si manifesta una tensione profonda tra natura e cultura. Da un lato c’è la sua verità organica, biologica; dall’altro, la stratificazione di sguardi, regole e aspettative che la società vi proietta sopra. Ho utilizzato la fotografia come mezzo per andare oltre il suo limite, non per fermarmi dentro il suo linguaggio. La macchina fotografica diventa per me uno strumento di mediazione: si frappone tra me e il soggetto, trasformando l’atto di osservare in un processo di ascolto. Il video, poi, aggiunge la variabile del tempo, della trasformazione, e apre nuove possibilità di interrogare l’identità nella sua instabilità. Il dettaglio esasperato che caratterizza il mio lavoro non è un esercizio formale, ma un modo per rallentare la visione, per spostarla oltre l’apparenza. Ed è proprio da questo processo che nasce anche una distorsione prospettica naturale, non cercata ma inevitabile, che restituisce al corpo la sua complessità e la sua ambiguità.

In Human Dilatations, you describe your pursuit of the essence of the female being in a dimension beyond the logos, drawing from the Neolithic as your starting point. As you delved into this investigation, what truths or revelations emerged that reshaped your understanding of femininity and its connection to our origins?

What emerged most powerfully was the contrast between the original symbolic power of the feminine and its gradual reduction to an aesthetic object over time. In the Neolithic woman, I saw a totem, a sacred figure associated with cycles, fertility, and continuity. Today, however, the perception of the female body is often filtered through a hyper-controlled and normative imaginary. I wanted to bring the body back to an original state, where imperfection is not a flaw, but a truth.
Quello che è emerso con forza è il contrasto tra la potenza simbolica originaria del femminile e la sua progressiva riduzione a oggetto estetico nel tempo. Nella donna neolitica vedevo un totem, una figura sacra, associata a cicli, fertilità, continuità. Oggi, invece, la percezione del corpo femminile è spesso filtrata da un immaginario ipercontrollato e normativo. Ho voluto riportare il corpo a uno stato originale, dove l’imperfezione non è errore ma verità.

Do you think that beyond the body and cultural identity, a person possesses a core ‘substance’?

Yes, but I prefer to think of it as a kind of tone (or timbre) that accompanies us from the moment we are born. I don’t see it as a fixed essence, but rather as a subtle imprint that reveals itself in gestures, in silences, in the everyday – something that moves through us until the end of life. It’s a constant yet discreet presence, not always easy to decipher, but one that shapes our existence more than we realize. It is precisely this quiet loyalty, engraved deep within us, that makes each individual unrepeatable and unique.
Sì, ma preferisco pensarla come un timbro di suono che ci accompagna sin da quando si nasce. Non la intendo come un’essenza immobile, ma come un’impronta sottile che si manifesta nei gesti, nei silenzi, nel quotidiano, e che ci attraversa fino al termine della vita. È una presenza costante ma discreta, non sempre decifrabile, che definisce la nostra esistenza più di quanto crediamo. È proprio questa fedeltà silenziosa, incisa nel profondo, a rendere ogni individuo irripetibile e unico.

Speaking of substance, how did Coralie Fargeat’s film The Substance resonate with you? What are your thoughts on the aging of the body, and have you ever considered developing a project that focuses solely on this theme?

The film approaches the body as a battlefield between desire, rejection and transformation. I don’t see aging as a decay, but as an intensification of memory within the body.
Il film affronta il corpo come campo di battaglia tra desiderio, rifiuto e trasformazione. L’invecchiamento non mi interessa come decadenza, ma come intensificazione della memoria nel corpo.

The human body is inherently unique, yet your portrayal of it goes beyond, emphasizing intricate details such as skin, fingerprints, and pupils, with your hyperrealistic textures drawing particular admiration. In your view, what defines the “fingerprint” of a work of art that grants it its uniqueness and identity?

The exaggerated (intricate) detail in my work is never a purpose in itself. It’s a way of slowing down the gaze, of bringing attention to back to what is usually taken for granted or overlooked in everyday life. Skin, folds, imperfections, pores, micro-differences: these are traces of each body’s uniqueness, but also anchors for a gaze that wants to go beyond form, into matter. In the same way, the ‘’fingerprint’’ of a work of art is not a stylistic trait or something immediately recognizable at a glance. It is what remains when everything else fades away. It is the trace of a presence, of an intention deeply internalized. A technique that has ceased to exhibit itself and has become an instrument. It is what allows the artwork to create a direct, unmediated connection with the viewer. But for that fingerprint to be perceptible, there must also be a willingness (openness, receptivity) on the part of the viewer–a mental, emotional, and cultural openness. The artwork speaks, but only to those who are truly willing to listen. Only then does the fingerprint reveal itself as a unique frequency, an essential contact between two presences that recognize each other even without knowing how.
Il dettaglio esasperato nei miei lavori non è mai fine a sé stesso. È un modo per rallentare lo sguardo, per restituire attenzione a ciò che nella vita ordinaria viene dato per scontato, o rimosso. Pelle, pieghe, imperfezioni, pori, micro differenze: sono tracce dell’unicità di ogni corpo, ma anche appigli per uno sguardo che vuole andare oltre la forma, dentro la materia. Allo stesso modo, l’impronta digitale di un’opera d’arte non è un tratto stilistico o riconoscibile a colpo d’occhio. È ciò che resta quando tutto il resto si dissolve. È la traccia di una presenza, di un’intenzione profondamente interiorizzata. Una tecnica che ha cessato di esibirsi e si è fatta strumento. È ciò che consente all’opera di generare un legame diretto, non mediato, con chi guarda. Ma perché quell’impronta sia percepibile, deve esserci anche una disponibilità da parte dello spettatore. Una disponibilità mentale, emotiva, culturale. L’opera parla, ma solo a chi è disposto ad ascoltare davvero. Solo allora l’impronta si manifesta come una frequenza unica, un contatto essenziale tra due presenze che si riconoscono anche senza sapere come.

In your work, you challenge and critique the beauty standards imposed by society. With the growing normalization of plastic surgery, what are your thoughts on the expansion of this trend? How do you envision the future of beauty standards, particularly when it comes to the pressure placed on women to conform to idealized and often unnatural ideals?

We live in an era where the sense of limits are shaped by an aesthetic that rejects pain, aging, and everything that involves sacrifice, depth, and emotional richness. This distancing from reality is further reinforced by photography as it circulates on social media, where images often portray what one wishes to be appear as, drifting further and further away from what one truly is and experiences. In this context, plastic surgery attempts to bridge that fracture, but it does not resolve it: if not guided by awareness, it risks becoming a form of self-mutilation of the real. In my work, beauty is never synonymous with perfection, but with depth. I believe the future of beauty will lie in our ability to recognize value in uniqueness. And I hope that artistic culture can help shift our gaze in that direction.
Viviamo in un’epoca in cui il senso del limite è dettato da un’estetica funzionale al rifiuto del dolore, dell’invecchiamento e di tutto ciò che implica sacrificio, spessore, profondità. A rafforzare questa distanza dal reale si è aggiunta la fotografia veicolata attraverso i social, dove l’immagine racconta spesso ciò che si vorrebbe essere o apparire, allontanandosi sempre più da ciò che si è e si vive. In questo contesto, la chirurgia estetica cerca di colmare quella frattura, ma non la risolve: rischia, se non guidata da consapevolezza, di trasformarsi in una forma di automutilazione del reale. Nel mio lavoro, la bellezza non è mai sinonimo di perfezione, ma di profondità. Credo che il futuro della bellezza si giocherà sulla capacità di riconoscere valore nella singolarità. E mi auguro che la cultura artistica possa contribuire a spostare lo sguardo in quella direzione.

Let’s delve into Hysteria which reveals the dichotomy in contemporary love relationships. With a continuous lack of emotional education, do you believe humanity can transcend this gap and ultimately learn to express their truths? If, as you suggest, Hysteria unveils our innermost selves and removes the masks we wear, what would follow? Given that releasing our emotions is something we must not only become accustomed to but also learn to manage, do you believe this transparency could lead to greater happiness and clarity in relationships, or might it spiral into chaos?

Emotional education is still an incomplete language Hysteria was born precisely from the need to reveal what is being held back. When we remove the mask, we don’t just find authenticity–we also encounter panic, vulnerability, and need. I believe that this unveiling can be fertile, as long as it is accompanied by the right tools to support it. Without them, it indeed risks creating disorder. But chaos is just the necessary passage toward a new form of balance.
L’educazione emotiva è ancora un linguaggio incompiuto. Hysteria nasce proprio dal bisogno di mostrare ciò che viene trattenuto. Quando rimuoviamo la maschera, non troviamo solo autenticità, ma anche panico, fragilità, bisogno. Credo che questo disvelamento possa essere fertile, se accompagnato da strumenti per sostenerlo. Senza, rischia effettivamente di generare disordine. Ma il caos è solo il passaggio necessario prima di una nuova forma di equilibrio.

Could you offer insight into your upcoming projects? Is there a particular theme you plan to explore or unravel?

With Domestic Chronotopes: Archaeology of the Everyday, which I’ve just exhibited at StadtGalerie Brixen as part of the duo show Tutti i presenti che non sono mai esistiti (All Those Present Who Never Existed) with Valentina De’Mathà and curated by Marco Pietracupa, I isolated everyday gestures from their cultural extensions—such as cutlery or a vacuum cleaner—and brought them into an archetypal dimension.
It is a study of the human condition in the absence of function, where physical presence becomes a relic and dwelling turns into ritual. All these gestures share a common tension: that of detaching the body from its context in order to return it to its symbolic origin.
This was made possible through a series of video installations created specifically by Form. The Creative Group and two AI systems developed ad hoc by Brandcraft.
This research will continue to deepen the relationship between gesture, memory, and space, with the intention of creating works capable of disrupting perceptual automatisms and reactivating a sense of self-presence. It is not about narrating a story, but rather about setting the conditions for an encounter.
Con Domestic Chronotopes: Archaeology of the Everyday, che ho appena esposto alla StadtGalerie Brixen nella doppia personale Tutti i presenti che non sono mai esistiti con Valentina De’ Mathà e curata da Marco Pietracupa, i gesti quotidiani vengono isolati dalle protesi culturali, come le posate o un aspirapolvere, e portati a una dimensione archetipica. È un’indagine sulla condizione umana in assenza di funzione, dove la presenza corporea si fa reliquia e l’abitare si trasforma in rito, condividendo una stessa tensione: quella di sottrarre il corpo al suo contesto per restituirlo alla sua origine simbolica. Questo è stato reso possibile grazie a una serie di installazioni video create ad hoc da “Form. The Creative Group” e da due intelligenze artificiali sviluppate appositamente da “Brandcraft”. Questa ricerca continuerà ad approfondire la relazione tra gesto, memoria e spazio, con l’intenzione di creare opere capaci di disinnescare l’automatismo percettivo e riattivare una consapevolezza dell’essere presenti a se stessi. Non si tratta di raccontare, ma di disporre le condizioni per un incontro.