In short

Mathias Depardon Interrupts His Hunger Strike

The French photo-journalist Mathias Depardon, arrested on 8 May in a report for National Geographic,...

Multiple Art Days opens this weekend at La Maison Rouge

The Parisian-based fair Multiple Art Days (MAD) opens its third edition this Friday until Sunday ev...

Behind the scenes : Fall in Deep by Elsa & Johanna

The duo of photographers Elsa Parra & Johanna Benaïnous have recently produced the videoclip F...
PHOTO OF THE DAY
Stanley Greene, Paris, 1994 © Bernard Plossu
Stanley Greene, Paris, 1994 © Bernard Plossu
Beautiful Boy is an ongoing project that began as a confession between two friends. On the subway one evening, my friend shared that he had worn women’s clothing almost exclusively in college, but after graduation struggled to navigate a world that seemed both newly accepting and yet inherently reviling of male displays of femininity. I thought that photography could provide a space for him to experiment with his identity outside of isolation.
Taking the first pictures was an emotional experience. I connected with my friend’s vulnerability. I wanted to make sure that the images were not a compromise for either of us, and we engaged in many discussions. Both of us have long, fraught relationships with femininity that have fundamentally shaped who we are. Our desires were matched. They had the desire to see themselves and I felt driven to capture their exploration. A part of my own identity that had defied expression also began to emerge. As time went on, we realized that we had unexpectedly fallen in love. He became my romantic partner and collaborator.
I wanted to make images without shame, to show his femininity as strength. I wanted to feel empowered as well, to have an intimate muse. When taking the photos I felt the same as when viewing a film where a director and actress share a deep connection to the fantasy captured. Although our emotional relationship is private and real, we perform a romanticism that is obsessive and decadent. We connect to images, films and records of women that we idolize and consume together.
Collaging the visual language of the past, I tap into deep-seated narratives about gender, desire, freedom, and cultural taboo. The fantasy of dressing up transforms the act of being photographed into one that fuses identity creation with image creation. The camera transposes our private experiences into public expression.