LARRY (iel) : de l’écran à l’image - autoportraits d’une transition
The LARRY (iel) : de l’écran à l’image - autoportraits d’une transition exhibition showcases the photographic work of Laurence Philomène, whose approach celebrates gender fluidity and self-representation. Through a dazzling palette, the artist immerses us in their intimate universe, exploring the nuances of trans and non-binary identities, the gentleness of everyday life, and self-assertion.
To accompany the theatrical release of LARRY (they/them) by Catherine Legault, this exhibition brings together works from the Puberty project—including never-before-seen pieces—as well as photographs taken during the documentary’s production. De l’écran à l’image highlights the cinematic power of Laurence Philomène’s compositions while extending the vulnerability and the thoughtfulness at the heart of their work, offering a singular and luminous vision of queer representation.
Header : Self-Portrait With Flowers (2022)
After T-Shot (2021) by Laurence Philomène
Laurence Philomène
Laurence may be a night owl, but their love for light and super-saturated colour is just as prominent in their work as an artist as it is in their personal life. Laurence was in their teens when they first began creating images and posting them on social media. In 2014, they came to international attention when Vogue named them the recipient of the Flickr 20under20 Curator’s Choice Award. Their talents have since featured in campaigns by some of the industry’s biggest players, including Apple, Adidas, Lacoste and Calvin Klein. Today, as a trans non-binary artist, Laurence puts the focus of their work on gender diversity. Their projects Non-Binary Series, Lucky and Me vs Others have reached viewers worldwide through numerous shows and publications.
Laurence’s first monograph Puberty documents two years during which they undergo hormone therapy. Through intimate revelations and autobiographical images, their day-to-day experience is used to present little-known details of life as a transgender person — hormone injections, for example, or non-binary nudity — in a positive light. Under Laurence’s gaze, the camera becomes a process of self and mutual care, where vulnerability turns to strength and the humanity of those who are all too often marginalized is celebrated through vibrant hues. For Laurence, fluorescent pink and neon orange aren’t just pretty: they’re also political.
