PSYCHE IS DREAMING...

Romantic Photographer in Brittany, France. Preraphaelism, Art Nouveau & Victorian era lover ...

[psycheophiuchus]

Now that I have introduced my Medusa a little, I would like to go further.

What fascinates me about this myth is not only her power to turn those who look at her to stone. It is the paradox she embodies.

Medusa is the one who must not be looked at. And yet, it is impossible to look away.

The gaze, the eye, the taboo of looking, and the compulsion to look: is there a myth more relevant to an age in which the gaze is everywhere?

The pleasure of looking, of seeing, and of being seen.

All of this is only a fragment of the contemporary story of Medusa, as I have explored it in the texts of a book that will be published one day.

"Medusa" - 2026 Model : Shire Eka

[yoannlossel]

[ENG] Fragments of the Labyrinth — Cartographer's note 9

I've been working on the view from above.

The whole structure, at once.

The eras. The routes between them.

The places that shouldn't connect — but do.

There are doors the Tower doesn't record.

I marked them anyway.

*(the map knows where they are.

so does something else.)*

---

[FR] Fragments du Labyrinthe — Note du cartographe 9

Je travaille sur la vue d'ensemble.

La structure entière, d'un seul regard.

Les ères. Les routes entre elles.

Les endroits qui ne devraient pas communiquer — mais qui le font.

Il y a des portes que la Tour ne répertorie pas.

Je les ai marquées quand même.

*(la carte sait où elles sont.

quelque chose d'autre aussi.)*

#labyrinth #darkfantasy #fantasyart #worldbuilding #arg #artists on tumblr

[psycheophiuchus]

MEDUSA - 2026 by Psyché Ophiuchus.

"You know me, or rather, you have already been told my story.

And yet, I have never been given a voice. I was SA’d, judged, punished, banished, killed, beheaded, reduced to a trophy, but never heard.

I was turned into a monster in order to avoid naming the violence.

I became a monster fabricated by the gaze of others, I am the first Black woman that Greece ever looked at.

See what she has made of her."

"Medusa" - 2026. Modele : Fidelia

[psycheophiuchus]

After several years on Etsy, I felt the need to move my shop to a simpler, more independent space.

Platforms change, and ways of working evolve too… but the essence remains the same:

handmade creations, limited editions, and a world shaped with patience.

My shop has now moved to SumUp.

Thank you to those who have followed my work for a long time, and welcome to those just discovering it.

[yoannlossel]

[ENG] Fragments of the Labyrinth — Cartographer’s note:

I thought the edges would hold.

So I started there.

Slowly. Precisely.

Each line stayed in place.

Each circle made sense.

Or seemed to.

There is a logic to it.

You can feel it taking shape.

But the closer you get to the center,

the less it behaves like a map.

It doesn’t collapse.

It shifts.

Have you ever tried to map something that reacts?

---

[FR] Fragments du Labyrinthe — Note du cartographe :

Je pensais que les bords tiendraient.

Alors j’ai commencé par là.

Lentement. Précisément.

Chaque ligne restait en place.

Chaque cercle avait du sens.

Du moins, en apparence.

Il y a une logique.

Vous pouvez la sentir prendre forme.

Mais plus vous vous approchez du centre,

moins cela se comporte comme une carte.

Ça ne cède pas.

Ça se déplace.

Avez-vous déjà essayé de cartographier quelque chose qui réagit ?

#labyrinth #darkfantasy #worldbuilding

[psycheophiuchus]

What if Narcissus could look away? In this third image, he lets go.

The screen falls silent, the reflection breaks. There is no more image to control, no gaze to satisfy, no self to perform.

The full story of this contemporary Narcissus will be revealed in my book, one day...

[psycheophiuchus]

On this International Women’s Rights Day, I would like to share another character from The White Laurels who feels particularly fitting.

She is a contemporary figure. She does not wear a mask. She is not restrained. She can speak. Take the floor. Defend herself.

And therefore claim her laurels, which, I hope, will no longer be white in the future.

Lucigaël does not represent a forgotten woman.

She represents a contemporary woman: a woman who remembers, who has freed herself, and who fights to claim her place.

“The White Laurels” - 2026. Model : Lucigaël

[psycheophiuchus]

“The White Laurels” - 2026 - by Psyché Ophiuchus. Model :Bambou

In The White Laurels, each woman embodies a time, an era, a culture, a forgotten woman.The fourth character I am presenting to you today is portrayed by Yosra, also known as Bambou.

She wears the sefseri, a traditional Tunisian garment whose history dates back to the 16th century. Her face is adorned with Berber symbols.

But this character is not “the Oriental figure” of the series.

Here, Yosra does not represent an aesthetic, mysterious, silent, decorative figure. She is holding an armillary sphere, she is a scholar.

I am deeply grateful to her for advising and guiding me. She was fully involved in the creation of this character

[psycheophiuchus]

“The White Laurels” — 2026 by Psyché Ophiuchus.

Today, I would like to introduce you to the second character of The White Laurels, the theme of my 2026 series, a project that is deeply close to my heart.

This series speaks of all those women, across eras and cultures, whose work, commitment, or genius were never recognized. Of those whose efforts were forgotten, made invisible, or sometimes even stolen.

This second character, embodied by Valentine, brings an additional dimension to the first character I previously introduced. She represents not only a figure, but also an art, an era, a memory.

A heartfelt thank you, Valentine, for your presence, your sensitivity, and your dedication during this shoot

[psycheophiuchus]

Narcisse - 2025 By Psyché Ophiuchus Model : Noé Despreaux

I imagined a contemporary, more modern character — dressed in jeans, quite androgynous — searching for himself in the reflection of his phone. His bow and arrows are gently laid beside him, while a basket filled with medication for depression and anxiety serves as his picnic. And if you also have a special thought about the myth of Narcissus, I would love to read your impressions.

Talk you soon, Psyche

[psycheophiuchus]

With February, the narcissus have arrived.

I can’t help but think of this photograph I created last year: my reinterpretation of the modern myth of Narcissus, with Noé as the model.

Narcissus no longer drowns in water. He dissolves into the reflection of images, into the gaze of others, into the constant staging of the self.

The myth has not disappeared, it has adapted.

[psycheophiuchus]

“The White Laurels” — 2026 by Psyché Ophiuchus.

White, like a blank page with no story, White, the banner of their deep anger, White, like a hole in memory, White, at last, for never received nor offered.

I had not planned to share this image now. I wanted to take more time to introduce you to the five characters of the series.

But given the recent stir on my page Facebook, I chose to share this one today.

I waited a long time before being able to create this photograph because of my ASD. And in the end, it was a good thing: it allowed me to work with these extraordinary women.

My deepest thanks to Stéphanie, Yosra, Claire, Valentine, and Lucigaël.

[yoannlossel]

The improvised cartographer I am.

A photo of the map,

inside a photo,

inside the map.

At this point, I’m not sure who’s mapping whom.

[psycheophiuchus]

"The White Laurels" - 2026. Photographer : Psyché Ophiuchus Model : Claire Tardieux

These photographs speak of all those women, across eras and cultures, whose work, commitment, or genius has never been recognized. Of those whose efforts have been forgotten, made invisible, or sometimes even stolen.

[psycheophiuchus]

"The White Laurels" - 2026.

Today, I am pleased to present the very first portrait of this series.

These photographs speak of all those women, across eras and cultures, whose work, commitment, or genius has never been recognized. Of those whose efforts have been forgotten, made invisible, or sometimes even stolen.

I would like to warmly thank @clairillu , who agreed to lend her face to this character inspired by Antiquity. Her gaze and posture bring this figure to life and resonate perfectly with the theme of the series.

[psycheophiuchus]

"Opus Nigrum" — 2026 by Psyché Ophiuchus.

This is my first photograph of the year. It bears the name Opus Nigrum, the alchemical stage of darkness, of dissolution, the moment when everything seems lost, yet where everything also begins to transform.

It is also my wish for 2026: to always find the strength to rise again, and to keep moving forward, even from the mud.

This image demanded an immense amount of work. I first discovered this corner of the forest last winter — a place that perfectly embodied cold, dampness, solitude, and mire. Then I had to find a second setting that could echo the first — the same light, the same tension, the same silence. That was one of the most difficult parts.

Before I began, I was filled with doubt. The fear of disappointing myself, of not being able to live up to what I had imagined. But after long, patient, relentless work, I am finally happy with the result — and deeply fulfilled to have brought the image I envisioned into being.

I would love to know what it makes you feel, and whether it speaks to you.

[yoannlossel]

[ENG] 🌟 'The Dream of the Fisherman’s Wife'

Ink, gold leaf, and hydrangea petals on cream paper (2021)

This piece, created in 2021 as a homage to Hokusai’s famous print, will be part of the upcoming exhibition:

“Japoniaiseries. Japanese Fantasies in the Time of Félicien Rops”

at the Félicien Rops Museum (Namur), from October 18th, 2025 to February 15th, 2026.

It’s a great honor for me to see my work presented alongside such a master (Félicien Rops) whose blend of sensuality, irony, and the sacred continues to inspire me deeply.

The exhibition explores the fascination of European artists for Japan and its aesthetics, from the 19th century to today, from Manet and Ensor to contemporary creators.

My sincere thanks to the Félicien Rops Museum for welcoming my work into this remarkable exhibition.

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[FR] 🌟 "Le Rêve de la femme du pêcheur"

Encre, feuille d’or et pétales d’hortensia sur papier crème (2021)

Cette œuvre, réalisée en 2021 en clin d’œil à la célèbre estampe d’Hokusai, sera présentée dans l’exposition :

« Japoniaiseries. Fantaisies japonaises au temps de Félicien Rops »

au Musée Félicien Rops (Namur), du 18 octobre 2025 au 15 février 2026.

C’est un grand honneur de voir mon travail exposé aux côtés de celui de Félicien Rops, dont l’alliance du sacré, du désir et de la transgression m’inspire depuis toujours.

L’exposition retracera l’influence du Japon sur les artistes européens, de l’ère du japonisme à nos jours, de Manet et Ensor jusqu’aux artistes contemporains.

Un immense merci au Musée Félicien Rops pour accueillir mon travail dans cette exposition exceptionnelle.

[psycheophiuchus]

New jewelry set available on my etsy shop.

Inspired by 19th-century Lover’s Eye jewelry, this set includes a white cotton choker and a pair of gold-toned (stainless) earrings. Each of the three pieces is adorned with a hand-painted eye, each one taken from a different artwork, giving the set a unique visual identity.

Between 1790 and 1830—just before and during the Regency era—a very particular fashion emerged in the United Kingdom: miniature jewels depicting the eye of a loved one. These could take the form of brooches, rings, lockets, bracelets, even small boxes… sentimental objects worn close to the body, cherished while waiting to see the beloved again. In wealthy circles, both men and women exchanged them.