Along seaside towns, sun-worship reigns. French photographer Anaïs Boileau (1992) captures the eccentric brightness of those that chase the sun’s rays, juxtaposed with the colourful Latin architecture surrounding them. Their eyes hidden behind protective eye-wear, the women become distant and detached, taking on a meditative calm. With bright, saturated colours and playful geometrics, the images are filled with what Boileau describes as a lifestyle of “happy idleness”.
There is something cheerily plastic about all of it. Boileau explains that the series has an implicit artificiality and recognition of superficiality: in Plein Soleil, it’s all about the surfaces.