FURTHER is two things: a series of off-road cycling events and a journal documenting Camille McMillan's work towards a different kind of race series.
Camille is an English photographer and artist who lives in the French Pyrenees.
7mesh sponsors the series. We called him on Zoom and spent an hour on bikes, art, old maps and the moment winning stopped mattering to him.
What follows is an edited transcript of the call.
7mesh: Good morning, Camille. How are you?
Camille: Morning. I'm alright - just wrestling with Zoom. I might be the only person who still can't figure it out.
7mesh: You're not. I assumed you'd be French, by the way.
Camille: Yeah, everyone thinks so because I live in France and my name. But I'm from London, born in Soho, and raised in North Essex. My mom named me Camille.
Growing up with bikes and art
7mesh: Where did the interest in bikes and art start?
Camille: Bikes and art were always there growing up. My Old Man was a passionate cyclist and always took me to races. This was back in the '70s. I wanted to win the Tour de France and all the classics. Then around 16, I dropped out of school, cycled obsessively, but eventually lost interest in winning. Instead, I became fascinated by what was happening around me.
7mesh: Why did you quit racing?
Camille: One day, during a race, I just turned around and became more interested in what was happening behind me rather than crossing the finish line first. Winning suddenly felt meaningless. I completely lost that competitive urge, and it never returned. From then on, my curiosity shifted to observing and documenting my surroundings.
Art school, Spitalfields and Rouleur
7mesh: How did art enter your life?
Camille: Art was deeply ingrained from childhood through my biological father, a fine artist who worked in the film industry, visualising projects for well-known directors. My mother was an animator involved in similarly well-known films. So, growing up, I was surrounded by creative influences. Later, after quitting competitive cycling, I worked in a restaurant in Soho, opposite St. Martin's College. Seeing all these cool people milling about over the road at St. Martin's Library motivated me to enrol there. I studied fine art, though sometimes I question why I didn't do graphics. I was always interested in exploring ideas and documenting journeys and roads.
7mesh: How did the work develop from there?
Camille: After St. Martin's, I had a huge studio in Spitalfields doing fine art photography. It was the '90s; I was deeply involved in that vibrant art scene. But eventually, I left London around 2001, moved to the countryside, and rediscovered cycling as a way of processing life. For years, I cycled extensively, always with a camera.
7mesh: Tell us about the photography itself.
Camille: My photography often centres on roads and journeys, landscapes, and personal encounters. Lately, I've embraced film again, even large-format photography, appreciating its imperfections and unpredictability. Dust and fluff on negatives—things digital photography would eliminate—I now value for their authenticity and randomness.
7mesh: And you spent time as an editor at Rouleur magazine?
Camille: Yes, I was editor-at-large at Rouleur in the early days, circa 2006. It was a special period, working closely with Guy Andrews. Rouleur stood out because it deeply embraced cycling's culture and history, resonating with what I'd been exploring through my photography. I helped with photography, art direction, and curated visual narratives focused on storytelling rather than just race results.
Where FURTHER came from
7mesh: What led you to start FURTHER?
Camille: It started with my fascination for old Pyrenean roads that cars no longer use. I became captivated by old maps and the contrast between these forgotten routes and modern roads. Some roads on these maps would lead up mountains and just disappear, no longer maintained because new tarmac roads had been built.
My fascination with the maps dovetailed into an urge to create an event that wasn't just about cycling fast but about meaningful journeys and genuine connections. My motivation was to offer a richer experience than traditional races—something more personal and reflective. I was also inspired by the counterculture of the '60s, the Merry Pranksters, and their bus named 'FURTHER', which represented exploration, community, and pushing boundaries. I envisioned a race that celebrated stories, experiences, and landscapes rather than speed alone.
7mesh: What's your goal with these events?
Camille: I want people to experience beauty in unexpected ways, whether in nature, human interactions, or personal discoveries. It's about going beyond your comfort zone, finding the unpredictable, and challenging the idea of competition itself. The "winner" could be someone who gets distracted by a shepherd or fascinated by rock formations along the route.
Where it goes next
7mesh: How do you see FURTHER evolving?
Camille: Ideally, it remains authentic and encourages slow, meaningful engagement. There's always the tension between commercial interests and creative integrity. My challenge is to preserve the original spirit of curiosity and community without succumbing to commercial pressures or trendy marketing.
This year, we have Perseverance Pyrenees, Equinox-East of England and Elements-Scotland on the docket. Looking at life with a bigger map, I'm interested in taking FURTHER to new countries, investigating different landscapes and cultures.
7mesh: What do you hope newcomers take away from FURTHER?
Camille: I hope they leave with a profound sense of beauty—of the places they've seen, the experiences they've shared, and new personal insights. If they discover something surprising or form unexpected friendships, that's the ultimate win for me.
7mesh: Thanks for your time, Camille.
