Created in 2012 by Arno Brignon, Anne Desplantez, Gaël Bonnefon, and Lilie Pinot—four photographers driven by values of transmission, the association Déclic collectively designs workshops, courses, and training sessions inspired by a sensitive approach to photography.
How was the collective formed?
Arno Brignon: It came about in 2012 around the idea of mediation. Each of us was already running workshops alongside our creative work, and we wanted to develop new ones with people we got along with especially on an artistic level.
Anne Desplantez: We have a real interest in those values and in sharing meaningful moments. That’s what brought us together.
Arno Brignon: Since then, we’ve been running workshops with organizations in health, justice, and education… We also host photography workshops. The four of us coordinate the collective, and Matilda Holloway who is also very important is our president. Sometimes, we also collaborate with other photographers.
Gaël Bonnefon: And the collective isn’t exclusive neither creatively nor in terms of mediation. That’s probably what keeps us going!
What makes your workshops unique?
Arno Brignon: We have a guiding principle that aligns with our view of photography: exploring the artistic before the technical. First, you need something to express; then the technique becomes a tool.
Gaël Bonnefon: Teaching technical skills is measurable. But helping participants experience a shift, gently changing their perception, is harder to quantify and that’s what we aim to do.
Is that also how you approach your workshops?
Arno Brignon: The idea is to go together to a town called Seix, in the Ariège region. It’s a place where most of us have already spent time in residency, often through participatory programs involving local residents.
Anne Desplantez: During the day, each group goes off with a photographer and works quite independently. In the evening, we all gather to exchange and share experiences. That’s when we really feel the intersection between artistic and human approaches.
Arno Brignon: There’s a sense of communal living, shared time, collective energy. That idea is ever-present. Usually, the final afternoon is devoted to presenting each group’s work. There’s genuine curiosity and anticipation to see what everyone has created.
What kinds of photographers attend your workshops?
Arno Brignon: There are 4 to 5 people per group. We want it to be accessible to everyone. We try to defuse concerns about technical levels. Some are very comfortable with technique but still need to work on meaning and narrative. Others might lack technical skill but instantly have something to say.
What do these workshops bring to your own practice?
Gaël Bonnefon: For me, it’s a breath of fresh air. It keeps you from getting absorbed entirely in your own work. Sharing knowledge is deeply enriching.
Arno Brignon: The workshops align with our creative paths. We share our doubts, questions, and directions. It’s an extension of our artistic process.
Do these mediation efforts also provide a kind of professional stability?
Arno Brignon: Our careers are fragile. Some years we have lots of residencies and projects, other years almost nothing. With Déclic, we pay attention to each person’s workload. For instance, we might say, “This year, so-and-so should do a few more workshops.” We try to rebalance things that way. It helps provide a more stable foundation.
Anne Desplantez: Being four of us also makes it easy to cover for one another if someone can’t lead a workshop. It’s a real comfort.
Do you design all your workshops collectively?
Gaël Bonnefon: Yes, we like taking the time to plan them together each year.
Arno Brignon: Those who attend a series of workshops often meet several of us throughout the year. That complementarity creates something strong. It’s a real asset.
Anne Desplantez: In fact, when participants sign up, they don’t know which photographer they’ll be working with!
This collective spirit is also part of the festival you co-organize.
Anne Desplantez: In Seix, where the workshops take place, we also co-organize the LUM Festival, along with other groups like the Trigone collective and the Autre Direction association. There are exhibitions, lots of mediation workshops, almost like a photography fair, plus concerts… It happens every year during Ascension. The photographers we exhibit are all in tune with the collective spirit and explore the theme of confluence.
What does the future look like?
Arno Brignon: There have been major budget cuts in Toulouse, especially in visual arts education. Since we operate without operating subsidies, we’re somewhat protected—but of course it’s a concern for the future. We’d love to maintain the balance between workshops and artistic creation, and above all, continue offering programs for people who can’t afford traditional courses.
Arno Brignon: This year, we’re working on a project with the City of Toulouse, which is twinned with Bologna, Italy, and has reached out to us. We’re trying to see what we can create together!
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