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Apollonia Saintclair’s Female GazeI discovered Apollonia Saintclair's visual universe after Anni Jyn's suggestion at the end of our chat, the first in this series on my quest to discover the Female Gaze. And boy, was I in for a threat! After gifting myself two of her incredible Ink Is My Blood volumes, I reached out to Apollonia to ask if she would be willing to answer a few questions. Her answers revealed a deeply personal perspective grounded in literature, where imagination and fantasy collide to become immersive moments of erotic exploration. Enjoy!
What is your best seller's work ?
It's hard to say, but probably one of the most popular images is La lionne blessée (Love is a killer). Le masque de la Méduse (Object woman) would be another one.
La lionne blessée (Love Is a Killer)
Le Masque de la Méduse (Object Woman)
And the opposite: what is the one work of yours that you deeply love and feel would deserve more success ?
I can't think of one right now, but sometimes there is drawing I am particularly fond of because I mastered a technical challenge and think this is how I would be able to always draw, and then it doesn't get a special recognition.
Many of your pieces delve into themes that are considered taboo or transgressive. What draws you to explore these themes?
I draw primarily for myself -I know that's what every artist says, but it's the only honest premise to answer this question - and I choose my subjects because I see the potential for intense beauty in them – it's as simple as that. The transgressive aspect is collateral, and sometimes I wish I felt the same attraction to say, locomotives, which would make my life easier on social media, but I don't. Maybe what attracts me to erotica is the trickster-ish way it affects the viewer. For it first grabs you by the guts, below articulated emotions, then, like a magic mirror, strips you of conventions and preconceived notions if you let it, to reveal you little by little who you are, and finally shows the world around you in a different light.
Le bal des apostats (Iconoclastic Fury)
How do you navigate the line between provocation and artistic expression?
I do not draw "to shock the bourgeois", but rather to give substance to intuitions that I intimately feel as true. Provocation as a goal always sounds shallow to me, as much as any cultural artifact that has been utterly commodified. If there is no transcendence at work, it’s not art, it’s artifice and the strings show. The reasons why a painting affects us, and continues to affect us centuries later, are not reducible. There is something fundamentally alien there, coming from outside, far from something as worldly as provocation, and beyond the necessary technical skill of the artist.
Les Soudards de l’Empereur (The Sack of Rome)
La Fin de la Chevalerie (The last Robber Barons)
You've mentioned the influence of literature, including works by H.P. Lovecraft and various erotic authors, on your art. How does literary narrative shape your visual storytelling, and are there specific stories or authors that have recently inspired your work?
A story is an imaginary place where one can – want – live. Unfortunately, you can visit but not stay. I think that's what I try to do with my drawings: to offer through a single image a moment of a story, into which you can project yourself and imagine its unfolding beyond what is visible in the frame. Currently I'm working on Project M, a story inspired by true events during the Renaissance, told through dozens of drawings. It's a new approach, because this time I'm tied to a sequence of events that I need to tell to create an intelligible narrative arc. I'm slowly learning how to create a common thread while maintaining the laconic style that I like.
L’ange d’Acier (Chrome Angel)
La Pénitence (Do Not Fear Anger, For it is the Mask of Weakness)
How do you perceive the evolution of erotic art in contemporary culture, especially in the digital age?
Social media initially enabled an explosion of creativity, the rise of many new talents, and the rapid dissemination of works, particularly erotic ones, to a very wide audience. Now, with censorship on one side and excessive commercial reclamation on the other, the source is drying up, and erotica is returning to the back shelves of bookstores. For reasons far beyond my comprehension, it seems that the libertarianism of the 2000s is giving way to more restrictive – and darker - trends, but I am not in a position to say what influence this will have on erotic art, which as everyone knows has, like a cat, at least seven lives...
Le Remède des Sorcières (Mycophilia)
La mort venait d’en haut (Eternal Noir)
Your work often explores the fluidity of gender and sexual identity. How do you approach these themes in your art, and what do you hope to convey to viewers about the spectrum of human sexuality?
Your sexuality is like your DNA, it's unique. So, I see this topic in a very free and relaxed way. On the other hand, it's only one of the determinants that make up each individual identity, and the current tendency to over-emphasise it often leads to contra productive and even bizarre effects. I think that sexuality, experienced individually, is something fundamentally private, and the less the state or society define its framework, the better. It’s of course an illusion, for what happens in the alcove is always in some ways a reflection of collective rules.
La lavandière de nuit (White as death)
While your work transcends simple categorizations, it often incorporates elements of the "female gaze." How do you define the female gaze in your art, and how does it differ from the traditional male gaze?
In my work, women are often the driving force behind the action, they occupy the foreground. Nothing would really happen without them. This is only fair and differs from the iconic canons of some eras - but not all, by the way - where the opposite was the rule. Putting women in the driver's seat is additionally a source of inspiration, because the role reversal offers all sorts of interesting images to draw. Beyond that, I'm wary of definitions, as we are often only reacting to what came before us, certain that we have finally achieved the right balance, while we are simply instantiating new conventions.
Le démon de midi (Antidote to melancholy)
You’ve mentioned that viewers often see themselves in your characters. How do these personal connections impact you as an artist, and have any particular interactions with your audience surprised or inspired you?
What strikes me most is that it's often couples, of all ages, who buy my books. Some write to me and tell me about their love at first sight - and the fact that they somehow connect their personal story to my work touches me deeply. I feel a bit like a midwife, a stranger whom you trust and who you associate for a time with extremely intimate events.
Les brûlants (Burning in devotion)
Your illustrations balance provocative content with high aesthetic quality. How do you approach this balance, and what is your process for ensuring that your work remains both intellectually and visually engaging?
I try to create images that are as placative as they are transparent. On the one hand, there must be an immediate impact, like a punch, which works even if the image is the size of a postage stamp, but beyond that, it must immediately evoke everything off-screen, open up, withdraw. Black and white is of great help in this, as its reduction forces the viewer to invent a large part of the image, drawing them into the narrative.
Le Velociraptor (The Velociraptor)
Your work leaves much to the viewer's interpretation, embracing ambiguity and mystery. How do you see the role of ambiguity in art?
Philosophers have been at each other's throats for over two millennia over the true nature of reality, while art makes ambiguity its stock in trade. Rationality doesn't tolerate ambiguity well, but are we purely rational beings? Of course not, and art gives us access to some of the layers of reality that lie beyond. It is obvious to everyone, even the most rabid materialist, that there is a fundamentally aesthetic dimension to the experience of reality. In this experience, I see the acceptance of ambiguity as a reversal, as a reconfiguration that generates new meanings. The whole skill for the artist is not to confuse ambiguity with arbitrariness.
L’égalisation (Split in the middle)
(This is for my 16-year old daughter Marion, who studies art in high school here in Brussels). Could you describe your creative process, from idea to execution? Do you use digital tools ?
The architect Le Corbusier spoke of found objects as "objects with a poetic reaction," whether it be a nut, a tree root, or a Doric capital. For me, every drawing begins with an encounter with an image, whether in everyday life or in the media. Experimenting, through sketches, confrontations, and collages with other images, I try to understand what initially piqued my interest, to amplify it, and to discover the stories it contains. There is always a back-and-forth between the narrative aspect and the visual impact: what is this image trying to tell me, and is it visually complete? Technically, I use pencil and ink as much as a digital tablet; I've found that digital, when set up correctly, offers results very similar to ink, with some practical advantages - a drawing table that can be taken anywhere - and some conceptual disadvantages - the tendency to get lost in the details and end up making bombastic art...
La Transformation (An African Tale)
What are the artists you look up to that have or had a strong impact and influence on you ?
European adult comics and photography in fashion magazines, which I discovered at a young age, had a profound formative influence on my way of conceiving images. Moebius and [Helmut] Newton, to name just two: the former because, in addition to being a genius with the pen, he taught me that technically, anything goes to express an idea. You can recognize him immediately, and yet if you look closely, you'll see that he sometimes changes style three times in the same vignette. Moebius also shares with Ridley Scott a love of imperfections, of loose papers, which make their images so vivid, so analogous. And Newton because his images are so brutally erotic and intellectual, simultaneously. Each photo is a cathedral made of mirrors, carefully composed, and totally open.
Extract from L’Incal - Moebius + Jodorowski
Helmut Newton (source)
Reading your answers reminded me of a book that deeply fascinated me when I was a student: La femme piège by Enki Bilal. Are you familiar with it? Reflecting on it now, I realize it shares similarities with your artistic universe—erotic, dreamlike, dramatic.
Yes, I know Bilal and although his style has not, I believe, influenced me, I like the universe he has created, especially in his albums with external scenarios of which Exterminator 17 with Dionnet is in my opinion the masterpiece.
Your drawings often reference elements inspired by classic literature. What place does reading have in your daily life ? Could you describe a typical moment when reading triggers the idea for a drawing?
I read every day, and even years later, passages that have left a lasting impression on me come back to me along with a passing impression. An example of a passage that has stayed with me since the first time I read it is from Arthur Conan Doyle's The Lost World:
> “By George!” he whispered. “I think I can see it!” I stooped and peered over his shoulder through the gap. Yes, I could see it, too. In the deep shadow of the tree there was a deeper shadow yet, black, inchoate, vague—a crouching form full of savage vigor and menace. It was no higher than a horse, but the dim outline suggested vast bulk and strength. That hissing pant, as regular and full-volumed as the exhaust of an engine, spoke of a monstrous organism."
It's not necessarily this precise and magnificent image that he inspires, but the f
Mar 27, 2026La Guerra del AmorListen
Lyrics
Mujeres no son perfectas
Y los hombres son peores
ja que son ellos quienes hacen a la vida
Tan dura
Y las mujeres no son mejores
ja que son ellas quienes hacen a los hombres
Entonces nos encontramos
Y nos peleamos hasta la muerte
Mujeres contra los hombres
La guerra del Amor
La guerra del Amor (X4)
Esta noche a la Tentación
Nunca mas tendré esta sensación
que el amor es posible
que el amor es legal
que la amistad existe
y no solo el mal
lo fatal
La guerra del amor
Asi empieza
Y con la muerte se acabará
Y todo nuestro tiempo abajo
Seguiremos esperando vivirlo.
Mar 27, 2026X is a dump. Long live Bluesky 🦋The Current State of X
X (twitter) has become a place overrun with trolls, hate, and fake engagement, feeding the extreme right-wing agenda of a billionaire megalomaniac who just bought himself the most powerful country in the world through the election of His Majesty Trump prince d’Orange. For those of us who truly care about democracy, human rights (across genders, race, sexuality, religion and beyond the cat ‘n dog dichotomy), and foremost, genuine connection, it’s time to consider a new home for our data and social interactions.
Maybe you’ve heard of Bluesky before, or even tried it out when it was just getting started. It felt small, quiet, even a little lonely back then. But things have changed — and fast. With over 14 million users and counting, Bluesky has reached a critical mass. It’s now a thriving community, complete with advanced moderation tools, meaningful connections, and way less spam. It’s an open, vibrant network, and it’s ready to welcome you.
What if Bluesky goes Third Reich too ?
Could Bluesky face the same fate as other platforms — being bought out, losing control, or succumbing to algorithmic manipulation? It could, BUT: Bluesky is built on an open-source, decentralized protocol (AtProtocol or at:// ). This means users actually control their content, Bluesky is “just” an aggregator of feeds, accessible over a network itself designed to be transparent and user-first. So the days it does, you just connect with an alternative (like https://witchsky.app/ or https://blacksky.community/). That's it: your content, and your friends are there. Why? Because it's not you connecting to an app, it's an app connecting to you.
Will I be safe ?
Bluesky came up with great and simple ways to protect yourself from trolls and spammers, via Muting and Blocking. The word is out: don’t engage with trolls, block them. Deprive them of the oxygen they need to fill their empty selves by denying them the attention they crave. It’s as simple as this:
What about the content, and the algorithm?
You’re totally in charge. For instance, clicking on “Following” will expose you to… content shared by people you’re following. Weird, right ? There is also a “Discover” feed that you can educate by indicating “more” or “less” of this or that post, if you do want content to come to you through a secret sauce algorithm.
More importantly: Bluesky lets you choose from a variety of “feeds” — or even create your own. So if you’re passionate about something niche (say “Vintage 1980s Video Game Synths”), you can create a feed just for that using skyfeed.app, letting others with the same interest follow along. It’s the perfect way to discover like-minded people. I myself have about 20 or so feeds that I consult according to my current interest. Here is my list
No ads. None, nada, zilch
Bluesky’s monetization will be user-driven through optional premium features like profile customization, higher-quality videos, or enhanced bio options — never through ads or paid prioritization. This model keeps it fair, so every user’s voice is just as important as the next.
The time is now
Joining now means becoming part of something that’s still evolving, with the power to shape it alongside a community that values choice and authenticity. So, ready to join the butterflies over at Bluesky?
Set up your account, check out a few starter feeds, and dive in. You can find me there, too — feel free to reach out if you have any questions. Let’s make our social media experience Great Again! 🦋
Mar 27, 2026Mentions
@pixeline.be speaking from the heart. Incredibly poignant and I felt something when I read it. Worth your time. ideanation.offprint.app/a/3mklmytlmz...
How to Say the Hard Thing Without Starting a War | Alexandre Plennevaux 🇧🇪🇪🇺 | Offprint
Tips to speak your mind without burning down the relationship.
https://ideanation.offprint.app/a/3mklmytlmzh23-how-to-say-the-hard-thing-without-starting-a-war
5/6/26, 7:48 PM
