Photos © Gaia Baur, 2019-2020 – all rights reserved.


Photography, shooting organisation, set design, team management, image processing, post-production, development, print.

Staging is a means of expression which I particularly like. My process of creation implicates my models in the works’ realisation. The intimacy and the relationship they weave with the subject I explore in image are an essentiel component of my work.



Swiss-French, I am originally from Paris and I have been living in Switzerland since 2000. I followed seven years of professional training at the Vevey school of art (CEPV) in Switzerland. I finished a Bachelor in photography in june 2020. I also have a musical background with fifteen years of training in piano, singing and the solfeggio at the conservatoire of Lausanne. I am curious about the arts, litterature, history of art, science as well as society themes and contemporary issues.


Armement Juvénile - © Gaia Baur, 2020

Series ”Make Switzerland Great Again” – Photo: ”Juvenile Arms” © Gaia Baur, 2020 – all rights reserved.



“Make Switzerland Great Again” is a staged photographic project, which aims at questioning issues relating Americain education. This work addresses themes such as abstinence, juvenile arms or auto-segregation, emphasized with the research of articles, testimonies and statistics.

TEMPTED CHILDREN – Photo © Gaia Baur, 2019 – all rights reserved.



The exhibit “can you see the show from here” is held at the Swiss Camera Museum in Vevey, on the occasion of the Fête des Vignerons 2019 in Switzerland.

In parallel to my activities within Artecapt, I am as well a member of the collective of photographers FS20. With them I took part during 2019 in the creation of this exhibition.

We are eleven young photographers who have realised photographic works with our own interpretation of this national Swiss event which takes place only every 20 to 25 years. At the vernissage, we had the pleasure to receive more than 150 visitors, as well the press who talked about our event.

My photographic work “Tempted Children” is inspired by 19th century painter Paul-Charles Chocarne Moreau’s paintings. His favorite subject brings about a smile: juvenile disobedience to clergy. His timeless paintings of scenes of life amuse, while they remind us of our childhood similar to “Tom Sawyer”, where the subtle art of nonsense has as limit only a child’s imagination.
In this photo, it is this young feeling of freedom that I wish to share. What better nonsense moreover, than stealing the town church altar wine…?

I realised this staging in relationship to the Fête des Vignerons in several ways: first of all this national festival, this celebration of the professionals of wine which is organised by their Confrérie every 20 to 25 years. This rare event sees itself at the same time as festive and sacred; I wanted to capture the mischief, the innocence and the intense joy of this first experience of the forbidden.

The abbot-president François Margot, presiding over the Fête des Vignerons in 2019, has said himself that he perceives à s spiritual dimension in the festivities in Vevey, a dimension which brings us to the sacred.


The two principal points that I decide to put forward are those that permit me to define my approach.
This in the form of a comparison and a reflection on my way of conceiving my photography.

First, it is the need of putting forward the moments discerned by a globality as insignificant or negligible. In my approach, my wish is always to deal with marginal subjects. Be they set aside because they are taboo or outdated, these themes have for me a primordial importance in everyone’s personality and should not be underestimated.

A smile in the street, an instant of introspection or the sickness of a parent are events that mould the person that we are, as much as our reactions or our choices when we face them. The decision to take them up is not necessarily astonishing or shameful, it will probably not change much, but it allows us and others to find ourselves in the expression of the examples and to again reflect upon moments of life that are forgotten too rapidly.

Second, the substantial and esthetic comparison between audiovisual media and everyone’s life. We are exposed every day to hundreds of images, to commercials, films and series.

All these media send us a more or less realistic reflection of our society. Our convictions are without pause questioned by examples of life, which sometimes are tangible. Until the fateful moment when our only referent becomes the fiction of reality, during this time the factuality is affected and would appear almost dull and bland next to its illusion.

This common desire brings us to question the relevance of the real in photography. Would a subject, which is real but illustrated in a factitious way, be more accessible and appealing for the public? Isn’t it said that the imaginary is sometimes more real than the real?

The appeal of staging is also the appeal of the imaginary and stays, in my opinion, intimately linked to our childhood. The cinematographic aspect, as says Philip-Lorca diCorcia, is not necessarily intentional, but it refers to certain inescapable esthetic codes.

Thus it may be appropriate to ask the question of estheticism and documentary (in the broad sense of the term), which still today is controversial: does the estheticism allow to digest reality more easily? In my case, I have the rigor of leaving a large place to the context, but making it “too perfect” to let it seem totally real.

The touch-up and the presence of mixed lighting add a fictional and clearly illusory aspect.


Photo © Gaia Baur