Dmytro Komisarenko‘s self-portraits don’t shy away from the sensual. They lean into it. His work captures the provocative allure of the male physique with confidence and control, presenting it as something to be studied, celebrated, and, yes, desired.
The saving grace is that Komisarenko is doing incredibly well. Deeply carved features. intentional framing. And for such members, let’s be honest, most of them will also take a lot of photos of themselves. But what distinguishes his image from simple vanity is intent. These are not disposable shots. They are constructed moments that make you feel cared for, even if they seem effortless.
Selfies and self-portraits reconsidered
Komisarenko draws a clear line between selfies and self-portraits, and that distinction is important when reading his work. For him, selfies are a quick reaction. Self-portraits are planned and shaped by light, posture, and emotional direction.
The difference is especially evident in his frequent use of mirrors. These mirror compositions emphasize the curves, tension, and cleavage of his body without giving it a casual feel. These allow him to present himself from multiple angles at once, turning reflexes into tools rather than shortcuts.
Why black and white works so well
Many of Komisarenko’s photographs are in black and white, a choice that keeps the images intimate rather than flashy. Without the focus on color, the eye lingers on texture, shadow, and shape. Even when the subject matter is overtly sexual, the absence of color makes the work feel quiet.
That restraint gives the image staying power. Black and white removes excess and focuses the viewer on not only what is happening and exposed within the frame, but how it is represented.
Objectivity, vulnerability, and control
Taking photos of yourself comes with unique challenges. Komisarenko admits that his self-criticism doesn’t disappear just because he’s behind the camera. Certain features feel vulnerable. Certain images take time to be accepted.
Still, self-portraits have become an exercise in self-acceptance. Each image is an exercise in seeing yourself clearly without rushing past discomfort. The balance between vulnerability and control is what gives this work its responsibility.
Sex, intimacy, and “art porn”
Some of Komisarenko’s most talked about images exist somewhere between erotic photography and pornography. For him, the difference is one of intention. Sexuality can be direct without being empty. Desire need not cancel out meaning.
like a series a helping hand and Confession of a rose Use explicit images as metaphors rather than destinations. The images encourage interpretation rather than consumption, asking the viewer to look beyond excitement.
Let the work speak for itself
Komisarenko He believes that most of what is worth knowing about him is already present in his photographs, if the viewer is willing to take the time to look. Not everyone does that, but that’s part of the exchange.
Ultimately, his self-portraits are not about permission or performance. They are about ownership. of the body. of line of sight. And the stories that accompany both.
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Source: Gayety – gayety.com
