"I'm a fan of abstract art in other people's work, because at that precise moment, they might be people who tried something to avoid getting lost."
Louis Westerloppe has forged a unique visual identity through his editorial and commercial photography. Highly versatile, his visual style is distinguished by a subtle sensitivity to color and its saturation. He imagines moments of life underscored by a gentle mastery of color, often inspired by escapism and a sense of letting go, making the frenzy of the outside world his preferred playground. Recently, he completed a shoot in Lanzarote with model Eva Navarro and in Brazil for ELLE Lithuania. Having entered the field just two years ago, Louis Westerloppe is a photographer whose future looks promising, driven by a tangible will and determination.
Noée: Hello, Louis, I hope you're well. I'm starting this interview with a fairly general question, but one that I find essential for understanding an artist's sources of inspiration. Do you prefer figurative or abstract art?
Louis : There are two things that inspire me in figurative art.
First, the everyday scenes. That's something I love, in the sense that I observe what's happening around me. Sartre talked about phenomenology. It's like seeing things from a third-person perspective. You look at the hands of this waitress who, for example, is cleaning. You try to understand her feelings, even imagine what she's touching.
Then there's cinema. I love drawing inspiration from cinema because of the stories behind framing, lighting, and costumes. These are realities that mostly don't exist, but remain figurative because they're created somewhat from scratch, based on scenes from real life. And that's where I want to invent my own stories, drawing from a mix of what I see in my own life. That's why I travel so much, to capture scenes.
Abstract art gives me more of an impression that it should be contemplated; I struggle to understand how someone can think, "That's beautiful, I want to do something similar." Yet, I love looking at people's abstract art. And there's something I really admire about certain people: those who try, regardless of the quality. It can be anything—trying to start a business, trying photography, painting—but trying it wholeheartedly. And someone who gets lost, to me, is someone who isn't really trying. In my opinion, you can't get lost as long as you're trying lots of things.
You'll find a path, you'll find mechanisms that work for you and that you'll enjoy after a while. So, I'm a fan of abstract art in others, because at that precise moment, they might be people who tried something to avoid getting lost.
Noée: What initially appealed to you about the photography profession?
Louis: I started with street photography because it was the most accessible. Little by little, I got bored because you have to wait for something to happen. Of course, there are people who are brilliant and who are able to take street photos from anything, from a car reflection to a woman crossing against a red light.
But I was tired of waiting. I wanted to create my own street photography or film scenes. One of my best photos was taken in Japan. I dressed a model I was working with in a suit, then placed him in the middle of a street before taking the picture. It looks like it's simply a photo of a guy I surprised, as if I were on a bicycle and just passing by.
In my opinion, there's the photographer who captures a moment, and then there's the one who creates the moment. And I want to be the one who creates the moment; I find that so much more interesting.
Noée: Are your ideas and inspirations clear in your head or do you rely on spontaneity?
Louis I never imagine a specific scene, but rather a mood or a vision. I assemble a team, and then I just go with the flow. An idea might just come to me, and I'll go scouting locations, which can take all day. I create my mood board, quickly find a model and a stylist, and off we go. I let myself be carried away and enjoy it. And in this profession, it's important to know how to adapt, because there's nothing interesting about shooting from a set design all the time. You have to be sensitive to moods and to your own state of mind, which changes every day.
Noée: I get the impression that you quite like the principle of "letting go" in this profession?
Louis Yes, but I also really enjoy the preparation. The whole setup and process to get to the final photo. I ask myself a lot of questions about what I like because I'm also evolving. I'm more interested in dressing models as cops and creating something a bit funny, like Guy Bourdin, where scenes of reality and absurdity coexist. From a technical point of view, I'm pushing the boundaries of my productions because I have a better budget, a growing team, and a stronger desire for storytelling.
Ultimately, this somewhat contradicts the notion of letting go in my profession at this particular moment.
Noée: Have you ever thought about the meaning of your work in society? Is it purely aesthetic or are you trying to provoke a critical opinion?
Louis I want to create beautiful things and tell stories. I make up for it in other ways; I help people a lot in general. I enjoy working with those around me if I need their help.
But in this particular case, I see photography more as a passion than a job where I need to give meaning.
Noée: Technically, do you think you are capable of achieving anything in photography?
Louis No, photography is more complex than we think.
Noah: Is there anything you would like to master?
Louis Creating truly beautiful nudes in black and white, without vulgarity, is very difficult. I can't seem to reach that sublime level of elegance and unspoken meaning. When I say "nude," I mean skin, not private parts. And precisely, you see nothing in black and white.
Noée: Let's talk about another subject, taste. Are you reluctant to try things that might be "too much" or "not enough"?
Louis I don't like bad taste. Bad taste is "too much," "not enough" is boring. I don't mean to say that I like things that are neutral, but I do like things that are strong and powerful. Especially through color, setting, wide angle, and composition.
Noée: I see that many photos are taken outdoors, in Japanese streets or on a Brazilian beach. Is this desire for wide open spaces and a certain freedom inspired by certain photographers?
Louis I follow the work of Leslie Zhang and Helmut Newton a lot; it's very fashion-oriented. But there's one photographer I find sensational: Guy Bourdin. One of his photos inspired me to try and evoke in photography the same emotions one feels watching a film. I have an example in mind that perfectly illustrates my taste. Guy Bourdin photographed a chase scene between two women in swimsuits and police officers in a room entirely painted candy pink. Nothing could be more logical, but so intriguing and beautiful. I really love his blending of fiction and fashion in urban settings.
Noée: The fashion world is welcoming more and more photography enthusiasts, and it's sometimes very difficult to make a name for yourself. How do you differentiate yourself?
Louis Spontaneity is truly what defines character and strength. As I told you, my strength lies in building my team, choosing my locations, and then composing from what I have. And, I'm a nice guy.
Noée: How do you perceive models?
Louis Models are true colleagues, because if they don't work well, the shoot is ruined. The person has to understand you and want to work with you. I sometimes prefer shooting with actors and actresses because there's more playfulness; the "hanger" look that models are sometimes criticized for disappears. I really enjoy editorials; naturally, my vision requires an emotion that I find more easily in actors and actresses.
Noée: You talk a lot about spontaneity, but are you afraid of not being able to convey your vision in its entirety?
Louis You have to accept it and learn to delegate. I'm not that much of a control freak, and sometimes I think my vision isn't as good as theirs, because it's a complex profession. I really like letting people express their tastes; you can stumble upon some pleasant surprises.
Noée: What would be the best advice to give to beginner photographers?
Louis : We need to shoot as a team very quickly, don't hesitate to contact people, models, stylists and makeup artists to be on location very quickly.
Louis Westerloppe is definitely a photographer who surprises us where we least expect it. Always attentive to his surroundings, he acutely captures what is happening around him, convinced that spontaneity (with a little self-confidence) is the most personal strength a person can possess. He adopts a broad vision: thanks to his use of wide-angle lenses, he captures the smallest details, because life is not simply an ideal, but rather a collection of complex ideas. His photographs seem imbued with the breath of life, giving the frozen moment a vibrant energy.
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