Airwalker: A High-Flying Cover Story by Mathieu Forget

In a sleeping museum, a man leaps. He extends his body into the air until his silhouette seems to break free from gravity and take flight. This is not a scene from a science fiction film. It is the visual signature of Mathieu Forget, an artist of movement and levitation who transforms every space into a stage for apparitions. Where some chase the light, others seek weightlessness. Mathieu Forget belongs to those who suspend time rather than fill it.

For the very first time, Eyes Magazine is giving carte blanche to an artist for a Cover Story. In this exclusive co-production, the singular creative mind oversees the artistic direction, the performance, and the photography. This collaboration marks a conscious return to his roots. Born in Paris but raised in Geneva, he felt the urge to make noise in the city where he grew up. From that impulse was born a series of images created for the magazine, with the stylistic participation of major fashion houses, and captured in an exceptional location: the Museum of Art and History in Geneva. The project also serves as the launch of a charity campaign for an event taking place this October. The Dr Henri Dubois-Ferrière Dinu Lipatti Foundation has entrusted him with the artistic direction of its upcoming benefit gala, in support of scientific research in hematology.

In this quiet space, surrounded by paintings and sculptures, he set up his photography studio. There he explored volume, light, and the weight of history, propelling his body into the air in a state of levitation. Some images show him suspended, almost unreal. Others reveal the behind-the-scenes process, where he appears focused and precise. He is simultaneously creator, performer, eye behind the lens, and subject of his own work. This fusion of roles gives rise to a hybrid series, somewhere between self-portrait and artistic manifesto. A reflection on the image itself and the intent behind it. The museum becomes a method. Emptiness becomes resource, substance. Open space turns into narrative. Through his ethereal presence, he evokes stories, surrounded by the ghosts of the place and the echoes of the past. In a world saturated with screens, alerts, and urgency, levitation becomes a counterweight. A quiet gesture in response to the heaviness of the ordinary. Every muscle contributes to creating that sense of suspension. Not to impress, but to remind. To remind us that a moment can still be held, that a breath can still exist amid the noise.

Mathieu Forget describes himself as a dancer, photographer, and filmmaker. His world in motion is anchored in visual poetry, hovering at the edge of the supernatural. This distinctive style, born almost by accident when a photo of him mid-jump went viral, earned him the nickname The Flying Man. Since then, he has collaborated with major luxury houses and ventured into extreme environments. Among his most memorable projects are his work for the Paris Olympic Games and, above all, his photographs from Antarctica. There he created a striking image of his partner Victoria Dauberville, a ballet dancer, standing in a tutu on the bow of a ship amidst the ice. A fragile vision set against vastness, evoking a modern Swan Lake, powerful in its silent grace. This viral photograph, seen by millions, reflects his ability to create universal stories from a single moment of movement.

He represents a new generation of creatives who use social media as a true space for artistic expression. At the crossroads of performance and image, he has developed a unique visual language. Yet beyond the visual impact lies a deeper metaphor, the longing for elevation. Not to escape, but to rise — mentally, emotionally, symbolically. It is a gentle response to a tense era, an elegant resistance to the weight of the world. This is the ambition that runs through the Geneva project: to create powerful and sensitive images. Images that connect, that uplift, that move without overwhelming. Images that carry the intensity of a suspended moment through their softness. And perhaps, one day, to reach that ultimate lightness. A style instantly recognizable even without a face. “That is a Mathieu Forget.” An aerial signature. A breath. A form of timelessness.