Into the Spotlight: Maya Fuhr’s Universe of Flash, Film, and Fearless Intimacy

As the Ciclope Film Festival drew international creatives to Berlin, photographer and multidisciplinary artist Maya Fuhr unveiled something electric in a hidden Mitte courtyard, contributed by Fotografiska Berlin. Streetlight Spotlight, presented by creative production company BONAPARTE, was a full-sensory immersion into Maya Fuhr’s unmistakable visual universe, where 90’s nostalgia meets radical inclusivity, and where photographs coated in liquid latex invite you to feel art as much as see it. As the artist prepares for her next chapter, her message remains beautifully simple: We’re all stars.

Svenja Glintschert You’re known as a multidisciplinary artist – working as a host, photographer, and director. How do these different practices inform and influence each other in your artistic work?

Maya Fuhr No matter what I’m doing and what medium my creative outlet is in at the moment, I express myself in a hyper visual way – there are so many different influences in my work from my friends, to the people I capture, environments I experience, fashion choices, going to the museum, eating a good meal – each allowing for spontaneous energy that pulls me to document it.

I love the stimulation of dipping into different worlds and meeting new people and being on set, and at times I desire solitude and healing through creation. All media tell stories in a different way, if I’m expressing myself with video, photo, sculpture or hosting there’s an abundance of opportunities to create and inevitably share it with the world and make a difference or inspire others.  That’s something that drives me.

SG Your work has a distinct 90’s aesthetic influence that often feels off-beat, vibrant, and inviting at the same time. What draws you to that era, and how do you balance creating something welcoming while simultaneously pushing boundaries?

MF I grew up in the 90s and the first photos I ever took were on disposable cameras, with Polaroids.  When I was seven years old, I had a camera in my hand, I was aware of the camera and creating spontaneous memories. My work is an extension of myself in a way – I’m pretty off-beat, so I’m naturally drawn to imperfections.

There was a grit to the 90s aesthetic, and growing up seeing analogue film grain that is so different from the hyper digital world we live in today, where perfection is celebrated in a way – especially with photography. Creating a photo that is welcoming, while simultaneously pushing boundaries happens quite naturally, it’s a dance and reaction to who I’m shooting and what I’m shooting – I’m drawn to moments that capture a feeling, that feeling is usually shared with my subject. They are comfortable enough with me that we can push boundaries together. I’m grateful for this collaboration! I welcome you into this world.

SG You’ve created an entirely different universe through your work – a space that captures atypical moments while sidestepping traditional narratives around power, beauty, and gender. What does it mean to you to curate a world as an artist? How intentional are you about every element that enters your visual universe?

MF I’m pretty intentional and specific about what works and doesn’t work in who and what I’m capturing. It’s a big part of my commercial work actually – finding that balance of commerce and art, as well as product-driven campaigns being relatable, all types of people being able to see themselves in the work. Gender and power are pretty universal, and everyone’s experience is so different – it’s important to break norms and stereotypes so that all people are represented. That’s the beauty of art.  

SG The people in your photography feel so authentic and alive. How do you find or connect with your subjects, and what kind of relationship do you build with them during a shoot?

MF I’m glad that’s what you see in my work! Documenting through photo and motion is a beautiful way to have the person I’m capturing be seen and celebrated. Trust is key, in any relationship. Being curious is essential. I was taking photos of the drag queen Karlie Kant in Berlin the other day, and even though I only took three photos – she noticed that I passionately told her how good she looks. I realized in that moment that I really do give compliments and make someone feel special and beautiful, and it’s pretty automatic. I’m inspired by them, and they are inspired to share themselves and be present in the moment with me! It’s kind of like having a conversation with someone I feel safe around, silence is comfortable and peaceful – we don’t need to fill the space with words. I get the same feeling from dancing or taking pictures, there’s an inherent connection and intimacy that doesn’t require talking.

SG In many ways, the fashion industry had to catch up to the body-positive, inclusive world you’ve been creating all along. How did you navigate the pressure to conform to more traditional beauty standards, especially early in your career?

MF Beauty standards are forever evolving and changing! Unfortunately when I was growing up, there wasn’t much body diversity represented in fashion and media. I directly experienced the impact of this as a teen, being confused, and having an eating disorder at 14.  We looked up to false representations of ideal bodies like Paris Hilton and Kate Moss.

Growing up, sexuality wasn’t talked about and there was a lack of education, which led to a lot of shame and secrets, as well as a lack of disability advocacy.

Media and inclusive representation in media and advertising are so important for our youth especially, so that they can see themselves represented in what’s being advertised and don’t need to fit into the mold of what’s “normal” or idealistic.

True authentic worlds and communities are made up of all kinds of people – like we see in the actual world.

Luckily, where we are at now, authenticity has evolved and we see diversity in advertising and fashion, and I’m grateful that I can advocate for that with every job and project I have, and question “what does authenticity really mean?”

SG You’ve been shooting exclusively on film using direct-flash photography since your late teens. What drew you to this technique initially, and why have you remained committed to it?

MF I was drawn to film initially because there’s an element of surprise and patience. I love waiting for film to develop and a chance to pause time and not be instantly gratified. A lot of my work revolves around this push and pull and anticipation. Flash photography has always been desirable to me, it makes people shine.

SG Shooting on film requires a different kind of intentionality than digital – there’s no immediate playback and no endless takes. How does this limitation shape the way you work with your subjects and the energy on set?

MF There’s a freedom that comes with shooting film that isn’t always available with digital, because the client and team are analysing, looking for imperfections and what can be different in the shot.

Being present with what I’m shooting and not having the outside influence takes a lot of confidence and trust and I’m grateful that clients trust my vision. We still plan out our shot list at times, and a lot goes into the pre-production, and that enables fluidity on shoot day. I’ve gotten clear on what they want and don’t want, and if there are specific angles and intention they want conveyed – It’s a collaboration! It actually saves time, funny enough. Fewer shots are taken.

SG When you’re behind the camera, what are you looking for in a moment or a subject that makes you think, “This is it”?

MF It’s magic when that happens! I’m looking for a feeling, it’s hard to put it into words.

SG You’ve celebrated the opening of your first exhibition in Berlin during the Ciclope Film Festival on Wednesday, October 8th, 2025. What did it mean to you to bring your work to Berlin’s art scene for the first time?

MF It was incredible to share my work with the local community in Berlin and also the international creatives that were in town for Ciclope. I met so many cool people! The energy in this city is palpable, so being able to create such an immersive experience with Bonaparte was inspiring – especially because it captured the essence of the city – hot dogs, pretzels, drag, house tech, dark lighting, all in this historically beautiful building and courtyard. It means that I want to come back!

SG Berlin has such a rich history of queer culture and artistic freedom. How does showing your work here feel different from other places you’ve exhibited?

MF It feels like people really understand my work here, what may feel bold or edgy in another city is totally accepted here. Freaks unite!

SG What do you hope people take away from experiencing your work – whether through this exhibition or your broader body of work?

MF We’re all stars. 

SG What’s next in your own artistic universe? Are there new themes or mediums you’re excited to explore? 

MF I haven’t been home in LA for a while now so I’m looking forward to being back in my studio and preparing for my solo exhibition at Equinox Gallery in Vancouver, Canada. I’m displaying my photographs on aluminum and also latex. I’m excited to play.