Leonardo Veloce’s Intimate Portrait of an Artist Working in the Nude

For Leonardo Veloce, creativity is a collaborative act where artist and muse meet in another realm that lies in the liminal space between the physical and spiritual worlds. His work evokes the Romantic spirit of Eugène Delacroix, whose 1830 painting, Liberty Leading the People, stormed the Academy and signified the arrival of a new avant-garde.

Hailing from a small town in Italy, Veloce grew up immersed in the classical aesthetics of the past, developing a passion for archaeology that led him to study Latin, ancient Greek, and philosophy. Continuing to draw inspiration from the Old Masters, he infuses his photography with the language of art, from his personal work to his commercial projects, that he has undertaken for brands including Acne Studios, Burberry, JW Anderson, and Prada.

Veloce’s latest work Furrow, made with artist Dominic Myatt, is no exception. In a sketchbook featuring their collaborative works on paper, Myatt alchemically marks, cuts, and otherwise rearranges Veloce’s intimate photographs. “There is something very special about the fact that all of the sketches in it are handmade, and they keep hanging with time because the charcoal will keep disintegrating or moving,” says Veloce, who decided to create Furrow as an edition of 1/1 to preserve the preciousness of the finished object.

Furrow began when Veloce invited Myatt to his studio, suggesting he bring some paper and charcoal so that he could photograph the artist at work. “It was the two of us in the studio and I asked him to take his clothes off,” says Veloce. “It was super comfortable being naked. He was just sketching lost in his environment and I was moving around taking pictures. I tend to be very tidy and refined, and one of the things that fascinated me about Dominic is the chaos. It’s so romantic, so bohemian, and I want to embrace all that – but it doesn’t last more than an hour.”

Yet what a difference those 60 minutes can make. Veloce began working in the nude as a way to break down his personal barriers to intimacy. It was a practice he adopted at the outset of his career as a way to understand the relationship between the body, self-image, trauma, and personal narratives. While working through his own issues, Veloce recognised the power of creating a safe space where people could finally be vulnerable without fear, threat, or regret.

“I work very often with people that have like body dysmorphia or trauma linked to their perception of their image, and it was beautiful to see my photography become a tool for people to feel better about themselves,” he says. “I really enjoy exploring the body with people who are using it in different ways and want to understand consciousness of it. As humans, we come together in a space and the body is like the car we use to perceive and experiment with other people on the planet.”

Understanding the responsibility that comes with making the private public, Veloce moves with a level of respect that feels at once elegant, authentic, and effortless. In his hands, the studio becomes a sanctuary where art becomes an act of devotion, care, and connection that provides a much-needed antidote to the relentless pace of modern life that demands we perform “normalcy” no matter the cost. “I’m very open-minded about many things but I recognise the fact that unfortunately, we don’t live in a safe society where you can be that person,” says Veloce, who recognises the privilege and position he holds as an artist. 

“When it comes to the camera, you’re sharing this space with me and you’re trusting me with the outcome,” he continues. “I never take that for granted because one picture can change the perception that people have of themselves. It’s beautiful and it’s overwhelming because it really shows how humans come together in a social space and support each other. I love that because I feel like in those moments you forget about everything else. It’s just you and the subject and nothing else matters.”