Work > Blue Angles

Riley the Girl
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Venus
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Auntie Herion
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Frida
ambrotype on black glass ( one of a kind)
4.5 x 3.5"
2018
Mick Douche
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Wanda Screw
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Yolo Ono
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Quinn
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Andi
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Butch Queen
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Tiffany
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
J for Pay
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Krissy Feet Face
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Patience Darling
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Sigourney
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
MeleeMcQueen
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Kat Sass
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Hanky Punk
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Travis
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Tiffany
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Krissy Korpus
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Talia
ambrotype on black glass ( one of a kind)
4.5 x 3.5"
2018
Phantazma
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
Kelly Boner
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018
WIllie La Que
ambrotype on black glass ( one of a kind)
3.5 x 4.5"
2018


“In Getting Medieval: Sexualities and Communities, Pre- and Postmodern, I focused on the pose of touching across time, collapsing time through affective contact between marginalized people now and then, and I suggest that with such queer historical touches we can form communities across time."

Carolyn Dinshaw

Blue Angels, a series of collodion-based portraits made in collaboration with the culturally diverse drag (Queen & King) community in Chicago. The work is manifested in one of a kind ambrotypes on black glass and a limited edition of salt prints. Blue Angels is concerned with questions about the lack of visual representation of LGBTQ+ persons from the 19th century.

I have used wet-plate photography as the medium for a conversation regarding representation in the Victorian era because it was popular image making technology of the time, and is central to communicating a rich and multi layered history of queer community. Blue Angels investigates a history of the late 19th century, creating a unique body of wet-plate images that tells an alternative story about inclusion.


“Queer time perhaps emerges most spectacularly, at the end of the twentieth century, from within those gay communities whose horizons of possibility have been severely diminished by the AIDS epidemic… And yet queer time, even as it emerges for the AIDS crisis, is not about compression and annihilation; it is also about the potentiality of life unscripted by the conventions of family, inheritance and child rearing”

Jack Halberstam