(Born in San Juan, Argentina)

Tomás Pintos is a multidisciplinary artist based between Barcelona and Paris working across photography, movement and performance. His artistic research is rooted in identity [self], queerness, and the digital landscape within pop culture, with a taste for the surreal, the absurd, and the politically uncomfortable. His practice brings together performing arts, choreography, and image-making into a visual universe that moves between all three.

As a photographer, he has shot editorial campaigns and covers including FUCKING YOUNG! #26, Carne Bollente SS26, and Adidas Originals, working across fashion, art, and commercial contexts. His images are highly constructed and theatrical, nourished by cinema, the visual codes of 90s and early 2000s fashion, and the aesthetics of digital culture. His background as a performing artist shapes the way he directs bodies and builds compositions: he thinks in terms of presence, staging, and tension between planes, treating each frame as a choreographed space rather than a captured moment. Color and image treatment are deliberate tools in his work, used to push the image into something that feels at once familiar and slightly off.

In movement direction, he has worked with Vogue Portugal, Desigual, Sen Senra, and Anderson Bell, designing choreographies that blend movement, performative presence, and brand identity.

His latest investigations and dance pieces Besos hasta agotar stock (2025), THE RED ROOM (2024), Empatía radical x Temporary Pleasure (Barcelona Architecture Festival, 2023), and Suspendido en el tiempo (Load Gallery, 2025) explore intimacy, collective queerness, and the politics of gesture. His work questions identity, desire, and social dynamics through a dissident and unexpected lens.