Depuis 2020, depuis l’île de La Réunion, la série NO·MAN·MEN explore une morphologie du masculin et s’attaque au mythe du mâle triomphant et conquérant. À la frontière du fantasme, du réel, de l’esthétique et du politique, les peintures sont pensées comme des sculptures ou des images défaillantes, issues de photographies ratées, de fragments visuels intimes, parfois dissimulés sur l’écran d’un téléphone : des images marginales circulant hors des cadres dominants de légitimation.

By re-gendering it, Monique Wittig's formula becomes ^«"gays are not men"^» It is important to remember that this “category” is a political construct that is situated and exclusionary for some of us who are attached to it.

As Josch Hoenes analyzes, certain normative images of masculinity — notably the figure of the bodybuilder — can produce ^«positives^»1 identifications by making socially marginalized subjectivities legible.

The body then tells of another way of living, close to the ^«total freedom^» and the physical and poetic dimension of existence claimed by Pasolini or photographed by Mapplethorpe. The gay body becomes the subject; it creates ^«another reality where the asshole takes power by replacing the imaginary phobic object with its aesthetic double.^{» 2}