PORTFOLIO

KREIST - MODELS DANIEL, ALEX & LARWA - MUA LARWA - PHOTO TOMASZ HERMAN

FOLSOM

MODELS Gabriella & Kim - Designer Luke Azzopardi - PHOTO TOMASZ HERMAN

MODEL LUKAS ZIEGELE [VIVA MODELS BERLIN] - COSTUME EMIL WYSOCKI - PHOTO TOMASZ HERMAN

Violet Chachki

Muse Violet Chachki - Assistant Martin Balance - Photo Tomasz Herman

Haider Ackermann

Haider Ackermann - Paris Fashion Week - Fall / Winter 19 / 20 - Photo Tomasz Herman

NASIEROWSKI

Model Jerzy Nasierowski - Make up artist Natalia Makowska - Photo & FILM Tomasz Herman

Nasierowski - indiscreet about nudity, love, and Nasierowski. Polish writer and actor, a descendant of the Mazovian nobility, born in May 27, 1933, widely regarded as the First Faggot of the Third Polish Republic. In 1973 he was sentenced to 25 years imprisonment for complicity in a murder committed by his young lover. Nasierowski’s trial was one of the loudest in Poland of the 1970s.

Exhibition = Indiscretion, a peculiar celebration of otherness. [Warsaw Psychiatric Clinic], About = i-D

Festivals = Grand Video Awards 2017 - Publicity section / Frappy Film Festival 2017 / International Short Film Festival ZUBROFFKA 2017

"Down with Religion! Long Live Nudity!" - Jerzy Nasierowski, directed by Tomasz Herman

Model Amadeusz Zak - Photo & Style Tomasz Herman

Elle

Muse Elle - Photo & Style Tomasz Herman

LARWA

Muse Larwa - Photo & Style Tomasz Herman

Aleksander Bozydar Lukowski

M o d e l P l u s

Model Aleksander Bozydar Lukowski [Model Plus] - Assistant Mateusz Zabka - Photo Tomasz Herman

Model Jacopo Matricciano - Photo Tomasz Herman

Model Antoine [Dominique Models] - Photo & Style Tomasz Herman

MILKBABY ASMR

WRITTEN BY PAT DUDEK AND SUNG HERE IN THE CONVENTION OF EROTIC ASMR - ALEKSANDER BLASZKIEWICZ AS MILKBABY - A FILM BY TOMASZ HERMAN

The film refers to the haptic ASMR formula, created to give pleasure, entertainment and the appearance of physical closeness. However, in social realities where pleasure is nothing simple and natural due to the boundaries set by the culture of shame and moral 'condemnation', the fulfillment of human needs can easily turn into solipsism, greed, secret, compulsive behavior and objectification. These errors result in 'MILKBABY's Top Secret ASMR video' - in the sound: seemingly embedded in the closeness and delicacy of the source formula, in fact - dissonant and greedy for the number of stimuli and experiencing them compulsively; in the image: excessive and consumptive, although suggesting an apparent freedom in fulfilling intimate needs. As an ASMR video - instead of calming - it encourages the pursuit; instead of tenderness between people, it focuses on the multiplication of objects. In the face of a culture of shame, the normalization of pleasure and the naturally understood and accepted multiplicity of sexual behavior seem to be barely achievable. And these remain satisfied, but in a shameful secret and in solitude.

Ann Demeulemeester

P a r i s

Ann Demeulemeester - Paris Fashion Week - Fall / Winter 19 / 20 - Photo Tomasz Herman

Model Michiel Debast - Photo & Style Tomasz Herman

Sebastian Cynk

E x p e r i m e n t a l D a n c e r

Model Sebastian Cynk - Hair Edyta Wasilewska - Designer Albert I’mStein - Photo & Style Tomasz Herman

Model Michiel Debast - Photo Tomasz Herman

KASIA JUJECZKA

VOL I

MODEL KASIA JUJECZKA [D’VISION] - ASSISTANT PAWEL UTR - PHOTO & STYLE TOMASZ HERMAN

KASIA JUJECZKA - FULL STORY

Model Lukasz Boguslawski - Agency X Management - Movement Director Sebastian Cynk - Photo & Style Tomasz Herman

Models Paranoia, Mariusz Kuzmicz, Daniel Rasielewski [AS Management] and Luke - MUA Paranoia - Photo Tomasz Herman for KREIST

Model Jakub Snioch [AS Management] - MUA Natalia Makowska - Assistant Pawel Utr - Designer Mariusz Przybylski - Photo & Style Tomasz Herman

Jakub Snioch

A S M a n a g e m e n t

Model Adam Kaszewski [AS Management] - Photo Tomasz Herman

HALT [teaser]

THE ANTIWAR VIDEO WRITTEN AND DIRECTED BY PAT DUDEK AND TOMASZ HERMAN

‚Halt’ is our protest against acceptance of xenophobic and nationalist attitudes, hate speech and violence - the film uses a brutal rhetoric and goes back to the historical examples of the victims of these ideologies as an alarming protest against bringing these things full circle.

While the visual side places the film in a specific space-time, referring explicitly to the current social attitudes [in Poland, Europe and in the world] and comparing it with the effects of historical analogy, the verbal site - a dystopian vision of ultimate destruction, resulting from the consequences of human activities - is a timeless comment on human arrogance and its destructive influence on nature [called ‚mother’].

Considering the real social situation, we assume that the brutality of historical comparisons is the only means by which we can present the dreadful consequences of the acceptance of hatred due to social approval and the law.