.Project B: Flow
Flow can be understood both as the seamless progression of movement and as a psychological state of focused immersion. This work explores the concepts of flow through the dance style of breaking, capturing each dancer’s personal movement language and interpretation of flow. Through the use of long exposure photography, the fluidity of their movements is imprinted onto the image, translating the ephemeral experience into a single frame. The photographs become more than representations of movement—they encapsulate the essence of flow itself, inviting the viewer to feel the energy and momentum of breaking.
.bboy Harry Hybrid (Hybrid Formz / JUSE)
So … why Breaking?
I’ve been shooting breaking for over 10 years now, having started by going to local jams alone, without knowing anyone (I was that random guy haha). But soon after, the community welcomed me in, and within a year, I was shooting events as the official photographer. To my surprise, I was also invited into one of Australia’s longest-standing crews, Hybrid Formz, back in 2021.
I’ve had an interest in street dance for the longest time, but breaking speaks to my heart in a way that no other style does. So, a big reason why I chose breaking as the form to explore this concept is simply because I love it. But there are actually a few more reasons why.
1) Form and flow
Breaking is made up of four main elements: toprock, footwork, power moves, and freezes.
Toprock is the upright portion of the dance, usually serving as the introduction before the dancer moves to the floor.
Footwork (or downrock) is performed on the ground, typically with both hands and feet touching the floor.
Power moves are big, dynamic movements that require strength, speed, and momentum — the kind of moves that make the crowd go wow.
Freezes are static poses that demand control and strength, often used to hit a beat or end a sequence with emphasis.
Breaking naturally involves lots of lateral and rotational movement, and has the potential to travel across space — especially through power moves, which showcase high energy and dynamic motion. Because of this, the flow captured through long exposure photography translates much more clearly in breaking compared to other street styles like popping or locking.
2) Repeatability
There are two aspects to the repeatability factor.
First, many breaking moves — like windmills, flares, or various footwork patterns — are designed to be done in succession and can be repeated continuously. Since breakers typically train these moves in repetition, they can easily perform them multiple times in pursuit of the perfect image, reducing variability in the process. During the shoot, I’d often ask dancers to repeat moves until either we nailed the shot or they were too exhausted to continue (which, given how physical breaking is, happened pretty often). For example, I had Bboy Upsize (Steez Head Breakers) perform headspins at least 20 times to get the best result possible.
The second aspect relates to how breakers train, create, and maintain their sets. While all street dance styles emphasize foundational training, breakers often build and memorize combinations — sequences of movements known as "sets" or "combos." Because these combos are created and internalized by each breaker, they’re easy to repeat, helping maintain consistency and reduce variability. The process of creation often happens during a state of flow — when movements just click and transition effortlessly. This also results in the showcase of the dancer’s individuality, as they infuse their own style and personality into the combos, adding flair and originality to established moves and patterns.
3) New perspectives
While the technique of combining long exposure with flash photography isn’t new, using it intentionally to capture breaking offers a fresh visual perspective. Capturing the movement’s flow in a single frame adds another dimension — one where the motion is just as important as the final, frozen moment captured by the flash.
I also wanted to present breaking in a new light (pun intended), and challenge the stereotype that it’s just a low-level street dance “you did as a kid.” Breaking, like many street styles, often doesn’t get the same recognition as ballet or contemporary dance. But there’s so much more to it than just spinning on your head or back (though that stuff is still cool). There’s deep history, influence, and artistry that most people never see.
With this work, I also aimed to position breaking in an art exhibition setting — a space where it’s not typically seen — and explore it through a more artistic, less documentary-style lens.
Special shoutout to all the dancers involved in this project, from the test phases to the final conception (list below), Mia my lovely assistant as well as Common House Studios and Outloud Bankstown for providing the spaces for the shoot.
Dancers:
Alejandro (Flowtality / JUSE)
BOBCC (Waseda Breakers)
Chico (Breakin’ Borders / Hybrid Formz)
Frenchy (Steez Head Breakers)
Hannah (Vanguards of Style)
Harry Hybrid (Hybrid Formz / JUSE)
Ja.Z (Hybrid Formz / Riddim Nation)
Jayon (Soulhunterz / Soulkingz)
Kid Tek (Flowtality / Knuckleheads / Zealous)
Kohey (Vanguards of Style / Illest Fellaz)
Lowe (SKB)
Mighty Duc (Vanguards of Style / R.A.W. / Musicality is Sex)
Raygun (Vanguards of Style)
Sammy The Free (Vanguards of Style)
Shuhei (Vanguards of Style)
Squideasy (Steez Head Breakers)
Sweaty P (Hybrid Formz / Flowtality)
Tango (Zealous)
Taz (Hybrid Formz)
The Law (Flowtality / SKB)
Tydal (Breakin’ Borders)
Upsize (Steez Head Breakers)
Vinh (Hybrid Formz)
