This participatory photography project began by chance, while testing a new lens. I photographed a man close to me in his home, just after he had finished cleaning. He was naked. The image, marked by the intimacy of the moment and the trace of domestic gestures, became the starting point of the series. I then invited men to be photographed nude while cleaning their homes, questioning masculinity, intimacy and the relationship to domestic space. Participants were informed that their faces could be hidden or removed during post-production if necessary. Over two years, I contacted forty-two men in Marseille (France) and Bologna (Italy). Twenty-nine refused, for a variety of reasons: modesty, lack of interest, personal constraints, or discomfort with their own image. These refusals became part of the project itself, revealing the tensions surrounding the representation of the male body and its exposure in a domestic context. Thirteen men accepted. Some preferred not to be photographed in their own homes; others adapted the setting. One participant, with feminine attributes, challenged conventional representations of masculinity and opened a reflection on the distinction between sex and gender. I chose to stop at thirteen, drawn to the symbolic meaning of this number, often associated with rupture and transformation. Here, it suggests the possibility of redefining the meaning of the word “man” within a binary system—and of questioning that system itself. The project also includes testimonials from participants, highlighting their personal experiences. From the beginning, I considered that the project belonged to them. I deeply thank them for their trust and generosity. A series of video clips extends the work: a figure—whether perceived as a trans woman, a cross-dresser, or an actor—reflects on the exhibition while kneading bread, adding another layer of ambiguity and interpretation. The project remains open. I hope other men, inspired by this series, will feel the desire to participate and perhaps choose to show their faces. The first reactions to the work, ranging from praise to sexist mockery, reveal how challenging it remains to present male nudity, especially in activities traditionally associated with women. (Honorable mention — 17th Julia Margaret Cameron Award, 2022)