Since 2020, from the island of Réunion, the NO·MAN·MEN series of paintings has explored a morphology of masculinity and challenged the myth of the triumphant and conquering male. At the boundary of fantasy, reality, aesthetics, and politics, the paintings are conceived as sculptures or flawed images, derived from failed photographs, intimate visual fragments, sometimes hidden on a phone screen: marginal images circulating outside the dominant frameworks of legitimation.

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}