Digital Photography and the Aesthetics of the Skin: Antoine Désir's Portraiture in the Digital Era
Antoine Désir interviewed by Edoardo Schinco
Sinuous bodies wrapped in stylishness stand out against a dark-coloured, hypnotising atmosphere, leading the beholder into a state of genuine bliss. By masterfully valorising the post-processing step, the French artist Antoine Désir merge his artistic skills with digital technology. Immerse yourself in this fascinating French-inspired world, where naked bodies and attractive shades of color are put at the service of genuine, eye-catching art. Post-apocalyptic decay, nudity, aesthetics of the skin, non-conforming bodies - those are just some tiles of a broader mosaic to be discovered in this remarkable interview.
Hello Antoine, our collective is really glad that you accepted our interview. So, just before we start, could you introduce yourself to our audience? Who are you?
My name is Antoine Désir, I am 37 years old and I live in Lille in the North of France. I am often enthusiastic and always optimistic. I like to imagine and bring to life photographic worlds, sometimes surprising, sometimes poetic, while artists that I love surround me. I love to experiment, discover, and learn new things. I am often traveling, bivouacking in a tent on a snowy peak in the Alps, or chasing sunsets in Iceland. However, to be honest, what I love to do is to stop time, lie down in my hammock, and cuddle my cat. My secret to happiness is not having great expectations: it leaves the door open for beautiful surprises. And I am fortunate to be surrounded by artists whom I love deeply, which also helps to be happy.
Where I live, I have a greenhouse and a small garden that I lovingly tend to. Looking at and enjoying nature every day is my little paradise. In my life, it is a bit similar, I sow ideas, scatter projects, and time decides the rest. I believe that my creative process stems from that a bit, when I photograph portraits, the images come to life spontaneously, guided by emotions. I juggle with shadows, reflections, hues, contrasts, without really knowing how the image will reveal itself. With the models, it is about taking time, conversing in the non-verbal, sometimes after several months of written exchanges. And sometimes the magic happens when our aesthetic universes intertwine.
Our collective is involved in photography and digital art. So, what is art to you? Is there a definition of art that you prefer? Finally, do you consider yourself an artist?
Art is the expression of our creativity, often without words or rationality. Art conveys and creates emotions and messages, which is what I like the most, I believe. I feel more like an artist than a photographer: what drives me is primarily the creation of universes, sets, atmospheres, and projects in collaboration with a team. To achieve this, I experiment. Settings and equipment take a back seat in my work. Post-processing is not just a technical step, but a true phase of creation where I can refine, transform, and enhance my images to perfectly reflect the universe I have imagined. It is a fusion of captured reality and imagination.
When and why did you start taking photos? What was your starting point? Are there any works or artists that have inspired you during your artistic journey?
I got my first film camera when I was 11 years old, a small camera with which I took photos with my finger in front of the flash, and when we went to the photographer to get the photos developed, it was a bit of a party for me! During my studies, I led a photography club, where I felt quite intimidated when giving lessons with my limited knowledge of photographic technique. I really got into it 15 years ago when a friend took me on an urbex (urban exploration), where we ventured armed with tripods and cameras into an old chemical factory. The combination of adventure and freedom, with this almost post-apocalyptic aesthetic of decay, fascinated me. Since then, I have photographed hundreds of places in Europe: old textile industries, power plants, abandoned theaters, majestic hotels, and even castles worthy of Sleeping Beauty. After that, I started covering weddings and baptisms more professionally. Today, I focus on creative portraits, especially artistic nudes.
Some artists fascinate me: Eugenio Recuenco, for his cinematic aesthetic and fusion of creative techniques; Le Turk, who creates fantastic theatrical compositions; and Mathilde Biron, who explores intimacy and femininity through polaroids and film photographs. In the field of cinema, the aesthetic universes of Gaspar Noé, Julia Ducournau, and Nicolas Winding Refn particularly inspire me.
What is the artistic scene of photography in France? Do you believe there are connections between your works and the French artistic context?
I am mainly familiar with the contemporary art scene in France, which is widely promoted through social media, making it difficult to choose from so many remarkable talents. I could start by mentioning Maud Chalard and Théo Gosselin, who skillfully combine the spontaneity of documentary with a striking poetic aesthetic. The photographic work of Martial Lenoir is also remarkable, as seen in “La loge des rats” where he explores the world of cabaret striptease dancers.
The impeccable architectural framings of Romain Meffre and Yves Marchand deeply impressed me, especially during an exhibition in Paris where their medium format prints were simply divine. More broadly, I also appreciate the work of Bettina Rheims, who addresses strong themes related to femininity, sexuality, and identity. I would also like to talk about the works of Céline Andréa, which stand out for her exceptional mastery of natural light on the human body.
Therefore, yes, I think there is a connection. I feel nourished by the inspirations I have mentioned, along with many others internationally, but also by the values of freedom and personal expression that are rooted in the French artistic scene.
Looking at your pictures, it is evident that you chose for artistic nudity as a means of photographic expression. What are the artistic reasons lying behind your interest for naked bodies?
The naked body fascinates me, the skin is very aesthetic. Moles, freckles, folds, and details on the skin tell a story. I appreciate the authenticity of a naked body: it blushes, breathes, sweats, simply lives, without hiding behind clothes. For me, it is the best medium to convey emotions with sensitivity. I believe that the human body has often been a central subject, I think of Rodin’s sculptures or Titian’s “Venus of Urbino”, and I am increasingly inspired by painting in my mood boards. But what I love about the skin is that you can add glitter, oil, flour, mud, paint, or even ashes to it! Someone once told me that making images with me was a sensory experience, and I’m inclined to believe them.
Reflecting on the theme of the body, today images and discourses about bodies can even play a “political” role. For example, I am thinking of contemporary feminist thought and gender studies. Do the use of bodies in your photographs have a “political” dimension as well, or purely an artistic dimension?
Thank you for this question. For me, art is inherently political, even if it’s not always obvious. The choice of subjects and bodies and how to show them is a political act in itself. I particularly enjoyed working with trans, non-binary, or plus-size individuals, for example. At one time, I thought that not taking gender or identity into account when choosing models was inclusive, but I realized that was not enough. In reality, one must actively seek to represent those who are less visible. This helps to change the images we are used to and perhaps slightly influence societal norms in the media or fashion. Perhaps social media will demand censorship without distinction based on gender, and even acknowledge that a nude body is not a sexual solicitation, but maybe I am being too optimistic. I do not claim to be an activist in my work, but I love to reflect on these issues.
With us, you spoke about photographic technique and the importance of post-processing. I believe the selected photos can bear witness to this. What is the artistic value of post-processing, therefore, in your opinion? For example, what role do colors play in your photos?
We could compare digital post-processing to darkroom development: the composition, duration, and temperature of the developer, as well as the rinsing and drying methods, can be found in the sliders of software. While it is true that I find it less magical than in film, the process remains fundamentally the same, just with different tools. Colors are essential in my world: for example, the evening light, that gentle orange that only lasts for a few moments, or a lovely cold cyan that caresses a metallic surface or the skin – I love that.
The setting also brings about both artistic and creative effects in your pictures. How do you choose the settings for your photographs? Do you use the setting to create a specific atmosphere?
I like it so much when there are details in the background, when models can evolve in a world made just for that occasion, instead of a white, nice background, which is too sober to me. I love the aged parquet and antique furniture, and plants often invite themselves in the pictures as well. A lovely tired armchair or some mirrors can complement the decor, and we can start! Unearthing places is a part of my approach, and I love modifying them to welcome a photo shoot. It sometimes requires a lot of energy, but I believe this is really worth it!