Felipe Romero Beltran
Moving Conflicts: Felipe Romero Beltran on Migration, Shifting Identities, and Performative Transitions.
Every body is a territory in conflict. In my case, the conflict is in a body politicized by a border and governed by laws made by others.
Felipe Romero Beltrán is a Colombian photographer currently based in Paris, whose work explores identity, immigration, and the nuanced representation of these themes. In a creative landscape often dominated by predictable imagery, Felipe stands out as a bold voice, channeling stories of cultural catharsis with a rare blend of elegance and authenticity. His artistic practice is deeply intertwined with social issues, particularly the tensions sparked by shifting narratives in documentary photography.
Felipe is committed to long-term projects, each shaped by rigorous research and a profound understanding of context. His collaborations with esteemed institutions such as The New York Times and Holiday Magazine are a testament to his growing influence. At a time when boundaries—both physical and metaphorical—are increasingly being questioned, Felipe's work invites us to reflect on the stories we choose to tell and the truths we seek to uncover.
Can you discuss the inspiration and objectives behind your project “Dialect”? What themes and messages were you aiming to explore?
The project began unexpectedly when I was invited to participate in an integration workshop as a Colombian migrant in Spain. During the workshop, I met a group of young men from Morocco who were striving to build a life in Spain. Over the weeks, we started taking photographs and spending time together. My initial goal was to capture the dynamics of this group of teenagers and explore questions about their identity. Given their political and legal status, I knew the project would span three years, the waiting period for undocumented migrants to obtain official documentation in Spain.
In “Instruction”, the migration experience is depicted almost as a dance, with bodies acting as vessels of narratives and identities. How does corporality influence your work, and do you view these moments as performative acts or spontaneous expressions?
The migrant body is intersected by frontiers—sometimes bureaucratic, sometimes physical. In “Instruction”, the concept is straightforward: to perform the movements imposed by these physical borders. Corporality is crucial in understanding the effects of these physical laws on migrant bodies. Every body is a territory in conflict. In my case, the conflict is in a body politicized by a border and governed by laws made by others.
In one of your photographs, a young boy is being carried by two others, evoking a sense of transient states that migrants often experience. Can you explain your thought process behind such body compositions and their intended iconography or symbolism?
The project evolved over three years, involving significant time spent together beyond taking pictures—talking and sharing moments. My interest shifted towards capturing the group’s memories of their journey from Tangier to Seville. Photography can only capture the present, so to access these memories, I asked the boys to reenact moments from their past, bringing those experiences into the present.
How do you ensure that your work goes beyond mere observations to capture rawness and truth, allowing your audience to connect deeply with the stories you tell?
Images are a non-verbal thinking device, predating verbal thought. I strive for my images to penetrate beyond the informative layer, tapping into a more primal level of understanding and connecting with reality. All my work is autobiographical. The questions, cases, and projects reflect tensions within me, often appearing unconnected but rooted in my personal experiences.
To access these memories, I asked the boys to reenact moments from their past, bringing those experiences into the present.
How does masculinity shape the narratives in your photography? What aspects do you aim to highlight or challenge?
Masculinity has been an underlying question since the beginning of my work, initially unconsciously. Over time, especially in “Dialect”, it has become more prominent. This exploration connects with my own adolescence in Colombia. Rather than categorizing masculinity, I aim to broaden the spectrum and leave the question open, encouraging ongoing investigation.
Are there any upcoming works that you’re particularly excited about or can share with us?
Yes. At the beginning of next year, in collaboration with the MAPFRE Foundation, I will have an exhibition and a book co-edited with LooseJoints. The project explores the landscape, both corporal and territorial, in northern Mexico, along the border with the United States.
