Klever Gbode: Beninese fashion and editorial photographer exploring movement, silence, and emotion

Klever Gbode is a self-taught visual artist and photographer whose work explores movement and silence through an editorial and artistic approach, driven by a liberating vision of imagery.

A former model, he turned to photography in 2021 as a way to fully express his imagination, developing a visual universe influenced by melancholy, music, and observation.

His work is primarily about evoking emotion, capturing moments where feeling takes precedence over the image itself.

How did you get started in photography?

I started relatively late, in 2021. Before that, I worked as a model for about two years, but I felt a sense of frustration as I could not fully express my vision, especially in relation to fashion, which has always been a strong passion of mine.

I began photography spontaneously, almost by chance, and very quickly realised it was the medium that truly aligned with who I am. It felt like discovering another version of myself, one that was more in tune with what I wanted to express.

I am self-taught, and my journey has been shaped through experimentation, observation, and practice. Photography became a way for me to bring my imagination to life and tell stories in my own way.

How would you describe yourself?

I am deeply introspective, guided by feeling and observation. I’m also naturally reserved, which has led me to develop a strong sensitivity to energy, emotions, and the subtle details that often go unnoticed.

Music plays a significant role in my creative process, especially melancholic tones that strongly influence my visual world. I consider myself quite nostalgic, always searching for a genuine emotion to translate into images. I am also very demanding of myself.

I have a need for each project to feel complete, almost perfect. In my work, I like to explore both movement and silence, with a liberating approach to photography.

What are the main themes that inspire your photography?

Movement, silence, and freedom. I am drawn to exploring the tension between what is visible and what is felt, between the energy of motion and the stillness of a frozen moment.

My work is also influenced by a sense of melancholy and nostalgia, often shaped by music. This allows me to create images that go beyond aesthetics and carry a deeper emotional weight.

Through my images, I aim to create a genuine connection. I do not just want to show, but to make people feel. I use light, movement, and body language to convey a sensation — something open to personal interpretation.

I believe it is within this freedom of interpretation that people can truly connect with my work.

What moment in your career are you most proud of?

Having had the opportunity to work with African stylists whose work I had admired for a long time.

These were people I used to follow from a distance, and having them show interest in my work and collaborate with me was very meaningful.

These experiences helped me grow both creatively and personally, and strengthened my confidence in my work.

What is the biggest challenge you have faced as a photographer?

I believe I have faced two major challenges in my journey. The first was the moment I had to make a clear decision to specialise in fashion and artistic photography.

It was not easy, as it required sacrifices, including letting go of a certain sense of security and embracing a more demanding and uncertain path.

It was also an internal process — learning to trust my vision, to fully embrace my artistic identity, and to stay consistent even without immediate validation.

The second challenge relates more to client perception. It can be difficult to propose more developed projects with strong storytelling and artistic direction, as not all clients are open to that level of depth.

There is often a preference for simpler or more commercial expectations, which can limit creative possibilities. This can be frustrating, knowing that much more can be explored in terms of image and emotion.

This is why I develop personal projects alongside my commissioned work. They allow me to maintain full creative freedom, to experiment, and to build a more complete vision.

However, these projects also come with real constraints, particularly financial and technical ones, which require constant adaptation and personal investment to bring my ideas to life.

Over time, this has taught me how to balance constraints with creative expression and to turn limitations into a driving force for strengthening my artistic identity.

What is your primary commercial niche?

My primary commercial niche is fashion and editorial photography, with a strong focus on creative direction and visual storytelling.

I work with brands and creatives seeking a distinctive and expressive aesthetic, where image-making goes beyond visuals to create a deeper emotional impact.

What is your unique technical or visual approach?

I specialise in fashion and artistic photography. This direction came naturally, as I have always been deeply passionate about fashion and everything related to artistic expression.

My work follows an editorial approach, with a strong focus on light, movement, and emotion. I aim to create images that exist between aesthetics and feeling, with a subtle film-inspired touch.

Over time, my style has evolved into something more personal and defined, in which I aim to express a liberating vision of photography — a way of capturing not just an image but a sensation.

Which global brands, photographers, or industries do you feel your work aligns with most?

I would love to collaborate with Mister Fifou, as I really appreciate his approach to directing and his strong visual identity. His work is both impactful and highly refined. I am also very inspired by Till Tan’s work and visual style.

More broadly, African creatives inspire me a lot, and I would love to continue building connections and collaborations within that creative scene.

How is the photography and art space in Benin?

Today, photography and art in general are receiving more attention and recognition in Benin, especially when compared to a few years ago. There is a noticeable shift, with increasing visibility and growing interest in creative work.

There is still progress to be made, but the momentum is positive. The fact that institutions are beginning to recognise the value of art is encouraging and opens up promising opportunities for creatives.

What is one professional standard you never compromise on?

Artistic integrity, for me, every image needs to feel intentional and authentic. Even in commercial work, I strive to maintain a strong visual identity and emotional depth, rather than creating something purely superficial.