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We’re closing our winner spotlight series with Jérémy Tran, the 1st prize winner of the Portfoliobox Creative Grant 2025. His portfolio stood out for its elegance, clarity, and emotion—proof that simplicity, when done well, can speak volumes.
What inspired the overall look and feel of your website?
The aesthetic of my website is directly inspired by my multidisciplinary background at the intersection of dance, cultural management, and political science. I wanted it to reflect clarity, movement, and coherence — mirroring my professional identity. The minimalist aesthetic, clean lines, and structured navigation were intentional choices: they allow the content to breathe and guide the visitor’s focus to the stories, the moving bodies, and the trajectory of my work. I also drew inspiration from the visual codes of contemporary dance and editorial design — letting images speak and using text as rhythm.
How do you decide which projects to include on your site?
My website serves a dual purpose: to highlight a curated selection of meaningful projects and to function as a public archive of my overall body of work.
I feature on the homepage and in the main sections the projects that best embody my core commitments: multidisciplinarity, public service, and collective intelligence. These are works or initiatives that marked a turning point in my journey, whether through artistic relevance or social impact. This selection aims to offer a coherent and intentional narrative of my professional path.
Beyond this curated display, the site also allows me to share my archives—traces, resources, and documentation. It’s a conscious choice rooted in transparency and transmission: I see this living memory as an essential part of my identity. It also contributes to a broader reflection on how artistic and civic engagement can be traced and made visible over time.
How has your portfolio helped you connect with clients or collaborators?
My portfolio has been a valuable tool for generating new opportunities—particularly at the intersection of different sectors. It has allowed me to build bridges between artistic communities and public institutions and to attract collaborators who are sensitive to hybrid practices. Several partners reached out because they saw a potential for interdisciplinary co-creation. For institutions, it’s also a sign of credibility—they see that I can engage in both artistic direction and project management with equal rigour.
Why did you choose Portfoliobox, and how has it shaped your creative presentation?
I chose Portfoliobox because it allows for an intuitive, code-free design. It’s flexible enough to adapt to my evolving needs—whether I want to showcase a video series, share a research paper, or highlight a civic initiative. Portfoliobox supports multimedia storytelling, and I appreciate how it lets me balance expressiveness and structure. That duality is central to my professional identity.
I also really value the quality of their support: the team is responsive, helpful, and attentive. Portfoliobox regularly updates the platform to reflect shifts in digital practices, which helps me stay current without compromising my individuality. It’s become both a technical and human partner in the way I present my work.
What’s a recent project you’re most proud of, and why?
I'm currently part of La Relève, a training program run by Sciences Po Paris for the French Ministry of Culture. It’s designed to prepare the next generation of leaders in the performing and visual arts sectors. More than just a leadership track, it’s a strong political statement—aimed at diversifying who gets access to cultural leadership by opening the doors to hybrid, engaged, and often non-traditional profiles.
I'm proud to be part of this program because it challenges me to rethink how my journey—from dance to dance film to cultural policy—can help shape a renewed vision of public service. It also provides a rigorous space for reflection on recognition, networks, and multidisciplinary practice. Each module allows me to connect my field experience with institutional tools for strategy and transformation. It’s a pivotal moment in my path and a platform for reimagining what cultural leadership can look like.
Any advice for other creatives building their first portfolio?
Your portfolio shouldn’t just show what you’ve done—it should reflect who you’re becoming. Focus on coherence rather than quantity. You don’t need to prove everything; tell a story. Let your values shape your selection. And if you move across disciplines, embrace that complexity—don’t hide it. Choose a platform that can grow with you. Most of all, remember that your portfolio is a space for dialogue, not just display.
What’s next for you—any upcoming work or dreams you’re working toward?
I see myself stepping into a role that bridges the artistic and the institutional—ideally at a strategic level within a major national cultural institution or an international network. My goal is to mobilise my expertise in artistic creation, cultural engineering, and digital communication to build environments where art engages with citizenship, diversity, and inclusion—spaces where identities are told, met, and emancipated.
At the same time, I’m currently developing two personal projects. The first is a research-creation project exploring gesture and filiation, focused on how bodies transmit, inherit, and transform knowledge. The second is a book on the video-dance technique I’ve developed, a singular approach I’m currently the only one teaching in France.
I also remain open to unexpected, cross-disciplinary, and even improbable collaborations. These often bring the most vivid energy and nourish my work in the most vital ways.
