As part of the “East and South East Asian Panorama” regional open call, PhotoVogue has awarded special grants to three exceptional artists: Adam Han-Chun Lin from Taiwan, Keigo Wezel from Japan, and Narantsetseg Khuyagaa from Mongolia.
We spoke with Keigo Wezel, who received the Vision Grant, which recognizes artists with a unique perspective and a strong artistic voice.
Keigo Wezel is a Japanese photographer and artist. He studied at the Royal Academy of Fine Arts in Antwerp and at Parsons in New York. His work often explores the relationship between humans and nature, as well as his own psyche and cultural background.
Wezel’s project Sleepwalking recreates the feeling of daydreaming through surreal imagery. Using color thoughtfully, he builds a visual world that feels both strange and deeply sensory—like a vivid dream that brushes uncomfortably close to reality. The series shifts between everyday details, infused with a surreal and universal quality, and delicate, melancholic landscapes and portraits of figures frozen in time, living in their own dreamlike worlds. Sleepwalking explores the thin but powerful space between waking awareness and the surrender to the unknown sensations of sleep.
How did you first get into photography?
My mother has collected Vogue magazines since I was a child, so I grew up surrounded by them. That slowly sparked my curiosity about photography.
I got my first film camera as a teenager and started organizing photoshoots with my friends and sister. I’ve always been drawn to visual forms of expression, which led me to study fashion in New York and later photography in Antwerp.
You’ve described yourself as a daydreamer—how does that influence your photos? Do you plan them in advance or capture spontaneous moments?
It depends on the photo, but usually I get distracted by things around me—things I’m not supposed to focus on. I take pictures from a perspective that lifts the visual story into something dreamlike. The photos in Sleepwalking are spontaneous. Coincidence is really important—it keeps my curiosity alive and helps me discover new narratives. That’s also why I shoot on film; it leaves some things out of my control.
Color is central in your images. How do you choose and use it in your work?
It’s very instinctive. I’m drawn to colors that happen to appear around me. Then, whether it’s through working with the negative, using expired film, or editing in Photoshop, I bring out the color to transform the image into something new.
How has your background in Japan shaped the way you see and make photographs?
Japan is a very visually rich country. There’s a fluidity in design and visual landscape that’s always inspiring. I try to capture the in-between spaces, the objects that feel out of place. Through photography, I attach a story or create a new reality. I often ask: What is this? Why is it here? It’s like a huge playground where people interact with random objects that have no clear purpose—and I do the same with my camera.
There’s also a strong connection and respect for nature in Japan. People appreciate its fleeting beauty. Growing up with that has made me see nature as both fragile and powerful. Through my photos, I want to give viewers a space to reflect on that.024
Reflection in the water.
Keigo Wezel
What are you working on now, or what do you have planned for the future?
Sleepwalking is still an ongoing project. On the side, I’m also experimenting with combining photography and painting. I’m developing a project about windows in different countries. Windows show cultural differences and how people live. I keep a dreamlike style, choosing windows and turning them into abstract forms, almost like paintings.
Untitled, 2024
The feeling of waking up and returning to reality.
Keigo Wezel
Niji, 2024
A rainbow seen from my bedroom in Nara.
Keigo Wezel
Also check out:
Adam Han-Chun Lin’s interview
Narantsetseg Khuyagaa’s interview
Frequently Asked Questions
Of course Here is a list of FAQs about the East and Southeast Asian Panorama Open Call focusing on grantee Keigo Wezel
General Information
1 What is the East and Southeast Asian Panorama Open Call
Its a special program or grant opportunity designed to support and showcase artists and creators from East and Southeast Asia
2 Who is Keigo Wezel
Keigo Wezel is an artist who has been selected as a grantee from this Open Call
3 What kind of work does Keigo Wezel create
While specific details depend on the announcement Keigo Wezel is likely a visual artist filmmaker or performer whose work is being recognized by this program
For Applicants Aspiring Grantees
4 Who can apply for this Open Call
Typically artists filmmakers researchers or cultural practitioners who are from or whose work focuses on East andor Southeast Asia are eligible
5 What are the main benefits of being selected as a grantee
Benefits often include financial support for a project mentorship networking opportunities and a platform to present your work to a wider audience
6 What is the selection committee looking for in an application
They usually look for originality a strong artistic vision a clear project plan and how well the work aligns with the programs goals of highlighting East and Southeast Asian perspectives
7 What is a common mistake people make in their applications
A common mistake is not clearly explaining the projects concept or its connection to the EastSoutheast Asian context Proofreading for clarity is essential
Deeper Dive Practical Tips
8 Can you give an example of the type of project this Open Call might support
It could support a wide range of projects such as a documentary film about urban life in Manila a digital art installation exploring folklore or a performance piece on cultural identity
9 How competitive is the selection process
These regional open calls are typically very competitive as they attract a high number of talented applicants for a limited number of grants
10 Whats the best way to stay updated on future Open Calls
The best way is to follow the organizing institution on their website and social media channels