“I am another.”
« Je est un autre ».


What is the drive that compels a self-portrait?
Why does the documentation of one self seem universal?

Whether by means of pigment placed on canvas –clay –verse or photography, humans have had an inclination to document their lives to leave evidence that they were here.
Some take to scribbling their names in bathroom stalls, while others have had the courage to present the raw visual mark of them selves.
It takes a certain sort of person to be able to exploit their internal id.
While some seek to show the world in unflawed brilliant moments of being—others will reveal their scars and off moments in raw pixels.
While I would love to present here historical imagery of So and So and their impact on the world of he/ART –my ignorance and laziness to research affords me to utilize a person here on DA—who has in his own way—been leaving a mark in the history of art.

I present to you, in the first of a series; on artist who document the 21st century.

Today we have with us Cyril Berthault-Jacquier.
Also known as *CBJJBC

His name calls to mind one who is a constant supporter within the art community. a source of encouragement to those developing their vision via art.
Although one might consider him "popular’, his modesty makes him approachable and an undeniably poetic artist in the field of photography.
He considers himself a semi professional, yet his contributions to the art world of the 21st century prove otherwise.
Although his portfolio is extensive and includes experiments with toy cameras and urban landscapes, his portraits never cease to provide a powerful punch, an impact that invites the discerning viewer to look…muse ...project or imply nod in understanding the silent yet loud imagery.
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I invite you to sit and listen to some of Cyril’s thoughts regarding his self in portraits. Actually let me rephrase that as; ‘the self’ In early discussions with Cyril regarding his portraits, he was quick to correct this possible misconception. Let us turn our attention to Cyril and hear what he has to say regarding this.

Cyril:
Yes, you have echoed my thoughts about my "portraits".
You had at first wanted to write an article about self-portraits and I felt a need to redirect this to a more accurate definition of my work in this field.
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If I had chosen another “avatar” there, by DA, If I were not asked if my images were self-portraits there wouldn’t be a discussion here.
Perhaps we would speak about portraits, quite simply.
I hope in whatever case one does not associate my images with who I am as a person. We humans are complex and not so easy to be captured and seen truly via any form of portrait.
In the life of every day as an individual, I am just Cyril Berthault-Jacquier, a simple human traversing the Earth.
As I recently said in answer to a comment, “I am another.”

SLP:
Is it correct to say that facets of your self are explored?

Cyril:
“sans aucun doute”
While one can say I am within these images; it is actually an aspect of my being I aim to document, a small part of my being, which I believe to be universal in the emotional experiences amongst human nature.

SLP:
So in extricating the self in your work, do you ever feel uncomfortable or vulnerable about sharing it?

Cyril:
It is something very difficult the exploration of self, something almost painful. I must say, I need more and more courage to show these portraits.
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SLP:
Do you ever not like what you see in yourself?

Cyril:
To like what I see in these images… That is not the question; I do not make “fashion” photos.
Moreover, I like not to recognize myself -physically- in these images. It is not my face only I show, rather what there is in my head at the time of the photographic capture.

SLP:
What triggers inspiration? What compels you to take a particular image?

Cyril:
I hope to make images that can speak with somebody who does not know me at all.
It is a little like a dialogue with a psychoanalyst or a philosopher. In fact, they are frames of mind, engaged in intimate exchanges, directed to touch the spectator. When another can respond, as I perceive it, then I can say that the image is successful.

SLP:
I can relate to your thoughts about dialogue with a psychoanalyst. I have used photography as a medium to deal with certain emotional trauma.
The emotionally complex issues in life are not always so easily defined.
I have found disentangling these emotions, using photography as a means of expression, to be a useful form of self-help.
Nevertheless, back to you.

I’d say these three images, seem as if they were some heavy therapy sessions:
Since your portraits are not always fancy fanfare but raw imagery--what inspires this?
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Cyril:
I always have an impression that it is little too Peeping Tom, a little too beside the important things, by showing these photographs, though for as much so, they are necessary for me. Necessary to evolve/move like a human being, with individual personal experience They are instantaneous from what occurs in my head and my life at a given time. These moments are always what often accompany my unraveling coil by texts that I am inspired to write for them.

SLP:
So it is a collaboration of visual and written documentation of significant experiences in your life—at any particular time.

Cyril:
In fact, I had wanted to cease the subject of self. I had the impression that I had finished evoking the subject, as if I had nothing more to say in the field.
As I mentioned it above to you, I believe, the unearthing of self is something, which never leaves you, a desire, which returns, and you cannot prevent it. It is, an impulse of some sort, as if the end of the world were in play there, in any particular image.
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SLP:
That sounds melodramatic. Yet, as if spoken from a truly passionate introspective artist, probably the reasons your self-portraits have an appreciative audience.
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I do not think the average person puts so much into the release of self. In fact — in my impression the average self-portrait, tend to be a little glossier with attention to perfection…
Would you agree with that?


Cyril:
It seems rather severe to say that. Yet, it is not a thoroughly false statement.

I have indeed the impression that very often one seeks to produce a “flattering” image of oneself, “a beautiful” portrait which evokes only this beauty. Neglecting the other aspects of ones self, which is already a great success.
Beauty is reassuring, introspection less so.
It is not always easy to look at the life such as it is presented to us; our doubts, our interrogations, our anguishes etc…

SLP:
If any images would best portray you, which would they be.


Cyril:
Those that I prefer, those that resemble me sincerely and honestly, and interestingly not the most popular, would be these:





I was rather saddened that it does not gain more appreciation. However, with time, I forget and I pass to another thing, my latest work for example.




SLP:
What is the set up involved in your photos ?
Is it an ongoing process--days of forethought or spontaneous productions ?

Cyril:
Most of the time, I work alone. I know in advance which accessories I will use, which clothing or which “make up.” The preparation of the meeting also goes it very quickly. Since we speak about accessories, I would like to, once again, thank Elvis Pompilio and Agnès B, who have been to me in the past as well as present much help and support.

When I make portraits it’s very quick, I immediately know what I want. I am my best model, and I dare to ask myself things, which I will not request from another model.
To summarize, It is a vast subjective subject.

SLP:
What would you hope your audience derives from your portraits...or is it mostly for you?

Cyril:
I never make images for me none of my images are exposed in my living room or my office. The raison d'être ( BEING) of an image, is for it to be seen. I do not seek to show myself, me, personally. That would not have any interest. I search before making images and arranging them. It is the same process; whether it is a self-portrait, or an image made with a toy camera or even an “urban” image what remains also one of my preferred inspirations.
What impassions me above all, it is to seek, to explore.
This research passes sometimes via the self-portrait.

I am reassured when I expose self-portraits and spectators very often do not recognize me. One will speak to me about emotions, installations, textures, or other, but very seldom one tells me “ah, it is you on the photograph”.
In conclusion, it is in this fact that I have gained what I would hope to accomplish. I will consider the image as good, since it conveys an emotion that someone else can see himself or herself mirrored.
It is not about me—but rather me being able to simple be a transmitter to the shared human experience. To me, this is perfectly appropriate.
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SLP:
In conclusion,I am going to ask you a difficult question.
Can you share at least three images in portraits from other artist that you admire here on dA?

Cyril:
It is a difficult question indeed, because it forces a choice.
If I were to select a few that I remember, which deeply strike me, which have left a lasting impression, I believe I will remember until the end my life. Then I’d have to mention these obviously self-service portrait.

This portrait “Resistance” by*liquidkid1


is for me of an incredible force. Beyond the significant emotion, there is a whole political discourse behind which can only touch me. Omid has an extraordinary talent. I believe sincerely that he is somebody of whom many will acknowledge much in the years to come.

« The Day The Clown Cried » by Sébastien Tabuteaud aka *petitescargot


It is without any doubt the portrait which fascinates me since I attend DA. This sad clown, at the edge of the pit, near to asphyxiation, and yet supported by a very dynamic and significant orange color.
Such great art!
I am very surprised that this image never received a Daily Deviation.
Sebastien has an incredible talent, ever evolving with his work. In my opinion, this piece is an important transition in his development and study of his field.

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Finally, “Silence…” by Gilles Maselli aka~Gm75

I like here the black, the depth. I like when people explore doubt. It that proves that they exist and that they still have things to say. The doubt, even if that is paradoxical, reassures me.




The choices above are a very subjective selection, mea culpa.
I could also speak regarding the work of authors experienced like: devdjoe: *FredG ~Prisms I find that I am constant in my appreciation of their work.
It also brings me much pleasure to follow the work of the “young generation”, of whom I seize opportunity to support in their journey.
For example:
*Gbaas ~sophonisba *as2pik *Vinc6


Thank you Cyril for taking the time to muse upon this genre in photography.
You can be confident that your audience will be attentive to viewing your works including the ongoing development of THE self and its many raw and beautiful facets.
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