Heavy Feral
Heavy Feral

inside feral magazine

H✱RNY artist ANTON COLLA­TÉRAL

Photos by Anton Collatéral
Words by Steve Marais
First published in issue #1 of Feral Magazine, Print Edition

The horny gardener and masturbation photographer from Paris who loves Georges Bataille and cruising

His self-portraits are confrontational yet tender—masturbation as art, the internet as cruising ground, self-sexualisation as self-liberation. He is, after all, a child of the Tumblr era. What do we lose when desire is hidden? Where do our bodies belong? And who gets to dictate how we use or display them? 

Heavy Feral

ANTON COLLATÉRAL IN ISSUE #1 OF FERAL MAGAZINE

Heavy Feral

Order Feral Magazine and support queer print

Heavy Feral

Anton Collatéral is the ejaculating self-portraitist “fag” of Paris’s Bois de Vincennes, which explains his penchant for spontaneous encounters among the foliage. He is dreamy-looking, with a full beard and permanent bedroom eyes. His clothes are a bit rumpled, like he’s just rolled around in a flowerbed, which he possibly has. “We are sexual content,” Anton declares, in opposition to social media’s mysterious restrictions. This gardener-cum-artist has made it his mission to pollinate the internet’s digital gardens with his own brand of self-exposure. We met for this interview right after he finished a particularly steamy session with his garden hose, and I knew instantly that this would be no ordinary conversation about gardening. Shall we discuss the finer points of pollen transfer, or delve straight into the intricacies of digital desire? With Anton, it seems both are linked.


The full interview starts with sex questions.
Taken from the debut print issue of FERAL MAGAZINE. Get your copy here

 

Heavy Feral

ANTON COLLATÉRAL IN ISSUE #1 OF FERAL MAGAZINE

Heavy Feral

[CONTINUED IN PRINT EDITION]


[BONUS ONLINE CONTENT BELOW]

amuse-bouche 

seven profound things we learnt from Anton’s extensive interview in Feral Magazine

1. Your body is how you connect to this world

Anton’s erotic self-portraits are deeply autobiographical.  Autofiction always, as he himself puts it.  By exposing himself he wrestles with years of shame tied to a “fragile” body he once thought was too thin. Every photo is a space for him to control how his body is seen, both by others and by himself.

Heavy Feral
Heavy Feral
Heavy Feral

2. Cruising is one of the purest expressions of being gay

For Anton, spontaneous encounters in the foliage is ritualistic. It’s raw, multi-sensory, reliant on instincts and unspoken codes. Cruising connects bodies to their environments, people to each other, and history to the present.

Heavy Feral
Heavy Feral

3. Shame becomes power when you bring it into the light

Anton’s vulnerability is linked to a refusal to hide. His past is marked by what he calls “lacks”—emotional voids shared by all homosexuals carved out by shame, rejection, and societal structures. But his art turns those lacks into something generative. Shame doesn’t disappear; it transforms into faggotry through exposure. Anton shows us that by unashamedly taking ownership, we can control the narrative. 

4. Queer desire cannot be depoliticised

Meta bans a photo, but the issue is bigger than the “guidelines.” Anton’s work shows how desire disrupts systems of control tied to shame. When his masturbating pleasure-face is indistinguishable from an everyday-pleasure face, the act of ejaculation becomes explosively political.

Heavy Feral
Heavy Feral

5. Nature is fucking gay

Anton finds eroticism in every petal and pollination, likening plants to gay culture itself: adaptable, irrepressible, and resilient. The natural world doesn’t judge; it mirrors.

6. Community is complex, but essential

While Anton jokes about Parisian gay men being “completely mad,” his love for queer camaraderie pulses throughout his words. After years of thinking he didn’t need community, he now sees his gay friends as family. Queerness, at its best, builds bridges, not walls.

Heavy Feral
Heavy Feral

7. We must reject respectability

Anton’s mix of gay art and sex resists the push toward “clean”. He knows that the rejection of gay stuff in the mainstream has, ironically, created a space for unmatched creativity. His work refuses to cater to respectability politics, instead celebrating the sweat and stink that faggots like himself hold sacred.

Heavy Feral
Heavy Feral

Why does any of this matter beyond gay exhibitionist gardening circles? Also, what could possibly sound more French?!! At first glance, you might think it’s all shock value—the masturbating self-portraits, the cruising stories, the explicit talk of seed and sperm. But, as with all meaningful art, there’s something far more profound at play. Anton’s work asks some of the most urgent questions about queerness today: Where do our bodies belong? Who gets to dictate how we use or display them? And how do we reclaim something as natural as desire when shame hides so deeply inside us? 

 

 

This was a taste from FERAL MAGAZINE. Get your copy here

Heavy Feral

inside feral magazine

H✱RNY artist ANTON COLLA­TÉRAL

Photos by Anton Collatéral
Words by Steve Marais
First published in issue #1 of Feral Magazine, Print Edition

The horny gardener and masturbation photographer from Paris who loves Georges Bataille and cruising

His self-portraits are confrontational yet tender—masturbation as art, the internet as cruising ground, self-sexualisation as self-liberation. He is, after all, a child of the Tumblr era. What do we lose when desire is hidden? Where do our bodies belong? And who gets to dictate how we use or display them? 

Heavy Feral

ANTON COLLATÉRAL IN ISSUE #1 OF FERAL MAGAZINE

Heavy Feral

Anton Collatéral is the ejaculating self-portraitist “fag” of Paris’s Bois de Vincennes, which explains his penchant for spontaneous encounters among the foliage. He is dreamy-looking, with a full beard and permanent bedroom eyes. His clothes are a bit rumpled, like he’s just rolled around in a flowerbed, which he possibly has. “We are sexual content,” Anton declares, in opposition to social media’s mysterious restrictions. This gardener-cum-artist has made it his mission to pollinate the internet’s digital gardens with his own brand of self-exposure. We met for this interview right after he finished a particularly steamy session with his garden hose, and I knew instantly that this would be no ordinary conversation about gardening. Shall we discuss the finer points of pollen transfer, or delve straight into the intricacies of digital desire? With Anton, it seems both are linked.


The full interview starts with sex questions.
Taken from the debut print issue of FERAL MAGAZINE. Get your copy here

 

Heavy Feral

ANTON COLLATÉRAL IN ISSUE #1 OF FERAL MAGAZINE

Heavy Feral

Order Feral Magazine and support queer print

Heavy Feral

[CONTINUED IN PRINT EDITION]


[BONUS ONLINE CONTENT BELOW]

amuse-bouche 

seven profound things we learnt from Anton’s extensive interview in Feral Magazine

1. Your body is how you connect to this world

Anton’s erotic self-portraits are deeply autobiographical.  Autofiction always, as he himself puts it.  By exposing himself he wrestles with years of shame tied to a “fragile” body he once thought was too thin. Every photo is a space for him to control how his body is seen, both by others and by himself.

Heavy Feral
Heavy Feral
Heavy Feral

2. Cruising is one of the purest expressions of being gay

For Anton, spontaneous encounters in the foliage is ritualistic. It’s raw, multi-sensory, reliant on instincts and unspoken codes. Cruising connects bodies to their environments, people to each other, and history to the present.

Heavy Feral
Heavy Feral

3. Shame becomes power when you bring it into the light

Anton’s vulnerability is linked to a refusal to hide. His past is marked by what he calls “lacks”—emotional voids shared by all homosexuals carved out by shame, rejection, and societal structures. But his art turns those lacks into something generative. Shame doesn’t disappear; it transforms into faggotry through exposure. Anton shows us that by unashamedly taking ownership, we can control the narrative. 

4. Queer desire cannot be depoliticised

Meta bans a photo, but the issue is bigger than the “guidelines.” Anton’s work shows how desire disrupts systems of control tied to shame. When his masturbating pleasure-face is indistinguishable from an everyday-pleasure face, the act of ejaculation becomes explosively political.

Heavy Feral
Heavy Feral

5. Nature is fucking gay

Anton finds eroticism in every petal and pollination, likening plants to gay culture itself: adaptable, irrepressible, and resilient. The natural world doesn’t judge; it mirrors.

6. Community is complex, but essential

While Anton jokes about Parisian gay men being “completely mad,” his love for queer camaraderie pulses throughout his words. After years of thinking he didn’t need community, he now sees his gay friends as family. Queerness, at its best, builds bridges, not walls.

Heavy Feral
Heavy Feral

7. We must reject respectability

Anton’s mix of gay art and sex resists the push toward “clean”. He knows that the rejection of gay stuff in the mainstream has, ironically, created a space for unmatched creativity. His work refuses to cater to respectability politics, instead celebrating the sweat and stink that faggots like himself hold sacred.

Heavy Feral
Heavy Feral

Why does any of this matter beyond gay exhibitionist gardening circles? Also, what could possibly sound more French?!! At first glance, you might think it’s all shock value—the masturbating self-portraits, the cruising stories, the explicit talk of seed and sperm. But, as with all meaningful art, there’s something far more profound at play. Anton’s work asks some of the most urgent questions about queerness today: Where do our bodies belong? Who gets to dictate how we use or display them? And how do we reclaim something as natural as desire when shame hides so deeply inside us? 

 

 

This was a taste from FERAL MAGAZINE. Get your copy here

Heavy Feral