2026 Diplomas – Bachelor Photography

PHOTOGRAPHY

Salomé Billato – Grosse

by Salomé Billato

Grosse is a photographic book that combines self-portraits, documentary images, and fictional images exploring the contemporary body. By reclaiming the word "grosse", a term marked by shame and stigma, this project questions beauty standards and their hold over our relationship to the body. It draws on the artist's personal experience with Wegovy, a weight-loss treatment that intensified constant monitoring of her body. Grosse explores a central contradiction: the criticism these norms while participating in them. The book questions how far we are willing to reshape our bodies in order to conform to socially constructed ideals.

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Lee Eggenschwiler – Standard Values

by Lee Eggenschwiler

Standard Values explores the opaque economy of colored gemstones in Bangkok. Conceived as a visual investigation, this project focuses on the gray areas of this industry, capturing the precise moment when trust mechanisms and global flows transform a simple stone into a standardized ideal of luxury. The book confronts the raw materiality of the gems with the urban space, creating a dialogue between the facets of the crystals and the architecture of the skyscrapers to reveal their similarities and inclusions. Yet, the images also reveal a sense of solitude within an illusory opulence, moving between empty shops and anonymous bodies.

PHOTOGRAPHY

Vittorio Franzolini – Still still

by Vittorio Franzolini

Still still investigates the legacy of Fascist-era architecture in Italy. Inspired by Futurist "parole in libertà", the title stems from the repetition of the same word, generating an ambiguity between stillness and movement. Produced between Milan and Rome using analogue photography, the project seeks to desacralize these buildings through close and displaced viewpoints, moving away from their monumental and celebratory representation. Walls and surfaces appear like skin marked by erosion, dust and traces of time, transforming symbols of power into fragile and vulnerable bodies. Still still reflects on the persistence of certain aesthetics of authority in the present and takes the form of a book and an installation printed in Comcolor.

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Antoine Genoud – Galé j'armayi

by Antoine Genoud

Galé j'armayi explores how the figure of the peasant is represented in Switzerland, where it is deeply intertwined with national identity. More broadly, the project invites viewers to question their relationship to an idealized and exploited past, as well as to the traditions to which they are attached, in order to reclaim them. Visually, this takes the form of a video piece and a series of self-portraits where pose, clothing, and objects combine to recreate traditional peasant imagery while introducing a certain dissonance in order to challenge it. Furthermore, the roles of men and women are played by the artist himself, questioning certain notions of gender and traditional, conservative values.

PHOTOGRAPHY

Morea Gërxhaliu – Petti Toes Grande

by Morea Gërxhaliu

Petti Toes Grande is an experimental film and installation built from an overcrowded inner stage. Four animals gather for tea: a dog, a deer, a rat and a pig. Each embodies a different subpersona, transforming an inner monologue into a conversation between animal selves. Drawing from internet culture, furry culture, online animal archetypes and the emotional baggage humans attach to certain species, the work uses animal symbolism to explore different social versions of the self. Across three screens framed by stage curtains, reality television and theatre merge into an unstable spectacle where performance and authenticity become difficult to separate. The hierarchy of the scene never settles, shifting between those who serve, those who perform, those who watch and those who are overlooked.

PHOTOGRAPHY

Rose Graf – EVERYTHING FALLS QUIET

by Rose Graf

There are moments no one sees. Not because they don't exist, but because no one ever really looks. EVERYTHING FALLS QUIET grew from an intimate memory, one of school bullying. Familiar places swallowed by an unnatural darkness, bodies sharing space without ever truly meeting, a tension that lingers without breaking. Between recollection and fiction, between the real and the dreamlike. A way of taking back what was once taken. Of holding still these invisible moments, and finally giving them a face.

PHOTOGRAPHY

Léa Isoard – Almost Marble

by Léa Isoard

Almost Marble examines the circulation of contemporary female bodies within a visual and cultural landscape shaped by inherited representations. Using the Caryatids of the Acropolis as a reference, the project explores the persistence of ideals constructed through a masculine gaze, as well as the possibilities for their displacement. Within the Athenian labyrinth, portraits and architectural fragments come together to form a sensitive reading of a stratified city. The photographed figures can be understood as "displaced Caryatids": no longer bodies assigned to support a monument, but living presences that inhabit the city and constitute it from within.

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Maël Le Guével – Liberté, Liberté ! C'est où ça ?

by Maël Le Guével

Liberté, Liberté ! C'est où ça ? is a video inquiry into the world of gbakas, the collective minibuses that crisscross Abidjan from dawn to dusk. Covered in religious slogans and vivid colors, they are a striking visual landmark of the city. On board, apprentices hustle for passengers, collect fares and negotiate in an atmosphere of disorder and coded violence. Assert yourself, or lose your place. The film follows Kenzo, 32, an apprentice for ten years at the Adjamé Liberté station. Through an onboard camera, we witness his daily grind — calling out, pushing hard to fill the bus. Once the gbaka roars toward Yopougon, a quiet settles over the passengers only the noise of the traffic rolls on. A portrait of an urban theatre where virility, resourcefulness and chaos are forms of resistance.

PHOTOGRAPHY

Farah Mirzayeva – ANOMALIES

by Farah Mirzayeva

Inspired by a background in chemistry, ANOMALIES explores the boundary between scientific imagery and visual construction. After photographing machines which process or store data in EPFL laboratories, the images are modified by using scanning as a tool of transformation, to alter, glitch and deform. The process mimics the machines themselves: the codified images are systematically rescanned to gain new materiality, they become textured, unstable, and paradoxically analogue. The installation recreates the skeleton of a microscope seen in a laboratory, becoming a modular photographic sculpture of metal. A book completes this project: through sequencing, zooms and accumulation, it mirrors data processing in order to reveal the immateriality and abstraction of scientific research.

PHOTOGRAPHY

Auriane Nicollier – Everything Will Remain Except the House

by Auriane Nicollier

Everything Will Remain Except the House is a documentary project following the residents of a squatted building over the course of nearly a year. After their eviction, some found new places to live, while others were left homeless. The project explores how intimacy is shaped within temporary, collective, and precarious living spaces. Each occupied place must be adapted, shared, and reinvented. Through this instability, a sense of home is defined more by the relationships it fosters than by the space it occupies. Presented as a publication bringing together photographs and testimonies, Everything Will Remain Except the House preserves the memory of a place that has disappeared while offering a reflection on housing precarity, collective living, and mutual aid.

PHOTOGRAPHY

Colas Ravey – Un goût salé m'est resté en bouche

by Colas Ravey

The beach, in video games as in real life, is a place dear to the artist. It is a space where people, sensations, and moments of life intertwine. A place where people's identities and sexuality are at the mercy of the sun and the heat. Un goût salé m'est resté en bouche is a reminiscence of childhood, a time when video games were pixelated worlds where anything seemed possible, free from questions about self-image and love. Drawing inspiration from low-poly aesthetics, the project evokes a suspended moment where voyeurism, sunbathing, and flirting coexist. A moment where the artist becomes the avatar of a multi-purpose game, navigating between desire and freedom, intimate and public, in a quest for something that might be love.

PHOTOGRAPHY

Aline Savioz – I feel slightly off

by Aline Savioz

Born out of a period of introspection, I feel slightly off transforms invisible emotions such as anxiety and a loss of meaning into carefully constructed scenes. Through portraits, group scenes, and still lifes, familiar situations subtly shift toward the uncanny. Inspired by the concepts of the uncanny (Sigmund Freud) and the uncanny valley (Masahiro Mori), the images play on subtle shifts that create a tension between the everyday and the unsettling. Bringing together nine large-format photographs and an image printed on a floor mat, the installation offers a reflection on the relationship to control, anxiety, and the perception of reality, while seeking to make visible intimate experiences that are often shared but rarely expressed.

PHOTOGRAPHY

Ashley Schneiter – AMUL RAGAL

by Ashley Schneiter

AMUL RAGAL is a documentary photographic project dedicated to lamb, a practice deeply rooted in Senegal's cultural, social, and spiritual traditions. Through this work, the artist questions the photographic representation of the Black male body and the imaginaries associated with it. Senegalese wrestling offers a field where rituals, beliefs, and contemporary culture intersect. As a woman working in an almost exclusively male environment, the artist developed a gaze sensitive to the gestures, nuances, moments of waiting, and vulnerability that escape the spectacle. The use of a shallow depth of field turns blur into a narrative tool, conveying the uncertain boundary between reality, belief, and representation.

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Louise Tapponnier – Ce qu'elles partagent

by Louise Tapponnier

Ce qu'elles partagent explores photography as a relational and collaborative process centered on the notion of sorority. Through a system based on repetition and uniformity, the artist photographs women in a shared space in order to observe what emerges beyond individual singularities. The focus shifts toward gestures, attitudes, and forms of presence. The exchanges during the shoots lead to discussions about bodily habits, learned postures, and ways of presenting oneself or occupying space. The publication extends this research by bringing bodies together in a continuous flow where figures merge and respond to one another. The images gradually compose a form of "we," grounded in shared experience."

PHOTOGRAPHY

Shiny Vallenas – The Money Shot Always Tastes Like Bunnies And Donuts

by Shiny Vallenas

The codes of pornography have profoundly reshaped the representation of women within contemporary imagery. From the porno chic aesthetic of the 2000s to the clean girl aesthetic that dominates social media today, the same close-ups and fragmented bodies continue to circulate. Desire, being inherent to the image itself, now takes on disguised forms in response to censorship, transforming into viral trends. This project combines staged photography and AI-generated imagery to reconstruct visual dispositifs drawn from porn casting videos, OnlyFans, and the language of advertising. By tracing formal correspondences between the body, the animal, and processes of objectification, it seeks to make visible what a continuous flow of images has taught us to stop seeing.