From this encounter blossomed Her Blue Eyes, launched on January 15th: a recording of two human beings moving in parallel, one invisible behind the camera, the other exposed before it, documenting their shared frequency as it unfolds in real time. The book traces a spontaneous synergy rather than a constructed narrative, capturing the delicate moment in which trust is formed and creative identities begin to recognise themselves through the other. In the early stages of two promising careers, such encounters become pivotal: not only shaping the work itself, but forging the connections that allow artists to see further, risk more, and grow together.

Your latest shared work evokes a rare kind of intimacy reminiscent of Mario Sorrenti and Kate Moss shooting the Calvin Klein Obsession campaign: there is a trust, a quiet focus that has the aftertaste of fondness. In the photographs that Her Blue Eyes’s pages hold, there is a similar closeness, a sense of discovery between photographer and subject. For both of you, what made this connection spark? What was it about each other’s vision that made you click?

Jason: I think a lot of it comes down to shared taste: Devon and I found so many common grounds in the references we both loved, in music and fashion. We prefer timeless references over trends, and Devon especially has such a vast knowledge of music. I learn so much from her!

Devon: I agree with Jason. I feel like we both take what we are into pretty seriously. We have a lot of shared inspirations, so there is definitely trust there. 

In light of this human connection standing before the working collaboration, what made you lower your defenses and let that light-filled place of the photographic lens understand that it was a safe space for both sides of the lens?

Jason: The first time Devon and I met was at one of her shows actually, so I think meeting an artist where they’re at, doing what they love, was a great introduction. It felt very natural and then from there, shooting was just a natural next step. I think going in totally blind is something I prefer not to do with any project. I think it’s a conversation before a shoot. If I had just only met Devon for the first time shooting I don’t think this project would exist the way it does. 

Devon: I think while we started working together, we just gradually realized that we were a good match and felt comfortable around each other. That allows both of us to be genuinely ourselves and produce the type of work we both are happy with.  

The concept of the “It Girl” appears immediately in this book, from the very first written section. In light of the photographic investigation that you carried out together, what is the grammar that makes this figure? Is it such a fixed archetype, or does it know certain rule-breaking clauses?

Jason: I am still trying to understand this to be honest haha. It’s very ephemeral and without a specific description. I defer to Devon on this.

Devon: I defer back to Jason.

All the photographs here feel like snippets of private moments captured with care and precision. Through Devon’s eyes, one can feel a sense of memory and emotion. Is there a particular moment from these sessions that lingers for either of you, something these photographs instantly evoke?