March 28, 2025 |
Intimacy is hard to define. It can take many different forms and fill lots of different spaces. Intimate moments can happen in the sweaty haze of a club night as much as they can in quieter moments of self-reflection in the safe confines of a bedroom. It’s this spectrum of experience that is the centre of Berlin-based photographer Spyros Rennt’s latest photobook, Intertwined. Focused on exploring the subtler expressions of intimacy; the ones that might fall through the cracks but are no less beautiful than a passionate smooch or warm bear hug. With the pandemic creating a shift in the social experience of the queer community, as clubs closed their doors and more private gatherings swelled as a result, Rennt uses this new release to track the change and the differing types of intimacy that arose as a result. Spanning 128 yellow-tinged pages, the book also features a foreword by journalist Michele Fossi, with the images on display in an exhibition running from today to 30 March at Wolff | Jordan gallery. We spoke to Rennt to find out more about what went into the creation of the project.
Tell us a little about Intertwined and what led to its creation?
Every book I create marks a new chapter in my photographic journey. This time, the process began during a quiet winter, when I had the chance to dive back into my archive. What emerged was a series of images that felt naturally interconnected, both in mood and theme. I began to see a narrative forming around intimacy, community, and the quiet beauty of shared moments. After months of thoughtful curation, Intertwined came to life as a reflection of that emotional landscape.
What can readers expect in terms of themes and visuals when they open the book?
Intertwined explores identity, individuality and the bonds that tie us together. There is a distinct softness and melancholic undertone throughout, reflecting a sense of introspection. Sensuality is also present, but not always in the obvious or overt sense; instead, it manifests through tender gestures and the subtleties of human connection. The diptychs in the book invite viewers to linger on repeated forms, mirrored emotions and the quiet rhythm of intimacy.
What do you hope readers will take away from Intertwined?
I hope it’s a book that people return to – one that stirs feelings of warmth and familiarity. For me, the most meaningful photography books are those that invite a deeper emotional response each time I revisit them. I’d love for Intertwined to offer that kind of experience, evoking tenderness and reflection with every viewing.
Intertwined moves away from nightlife and into something quieter, more intimate. What pulled you in this direction?
Over time, I’ve found myself less drawn to documenting nightlife. While my earlier books celebrated the liberatory energy of queer spaces, Intertwined reflects a shift in my focus. After the pandemic, many of us found intimacy in more personal settings – private apartments, shared meals, moments of stillness. This transition naturally influenced my work, leading me to explore the subtler, quieter side of queer connection.
Intimacy can be loud, soft, fleeting, or all-consuming. How do you translate those emotions into an image?
Every photograph carries the imprint of its circumstances. The relationship between myself and my subjects, their connection to each other, and the atmosphere of the moment all shape the image. Sometimes intimacy is conveyed through the subtlest details – a lingering gaze, a hand resting on a shoulder, the way bodies curve towards one another. I work instinctively, responding to these dynamics and allowing them to guide the composition.
How you want people to experience your work?
Design is integral to how a book is experienced. I’ve always been intentional about materiality, but for Intertwined, I wanted the tactile qualities to evoke warmth and closeness. The yellow-toned paper softens the images and brings out the intimate nature of the photographs. It was important to me that readers not only see the work but also feel it – the paper adds a layer of emotional texture that complements the themes of the book.
You’ve self-published all your books – what’s the best and worst part of having total creative control?
The best part is undoubtedly the freedom. I can fully realise my vision without compromise, making choices that reflect the work’s intent. On the other hand, the responsibility can be overwhelming. Self-publishing means handling every aspect, from design to production to distribution. It’s a demanding process, but the satisfaction of holding the final product in my hands makes it entirely worthwhile.
You are also presenting your first exhibition in Berlin in years. What can we expect from it?
The exhibition will closely mirror the themes of the book. Many of the photographs from Intertwined will be displayed, alongside select archival pieces that complement the mood and narrative. It’s a way of extending the experience of the book into a physical space, inviting viewers to engage with the images on a larger scale.
What’s next?
For now, I’m focused on bringing Intertwined to new audiences. I’m also working on a big project: I’ll have my largest show to date during Berlin Gallery Weekend, at a new space which will inaugurate on that occasion – I’m very excited! Apart from that, photography remains my primary medium, but I’m open to wherever my curiosity leads. There’s something freeing about not knowing what comes next, and I look forward to whatever unfolds.
Photography by Spyros Rennt. Purchase the book here.
