Excluding the masses is a trap many queer artists tend to fall into. How can this be avoided?
At the beginning of every kind of social change there is a group that is first exoticised, visualized in a very particular context. That’s been the case with the queer community.
For example it took years to reach the point, when the less literal, less obvious forms of queerness can be expressed too. Today, queerness penetrates – if not defines – much of mainstream culture. The intersection between queerness and ecology is a good example of this. I think we’re heading in the right direction. I can even see it in my work. Young Body isn’t explicitly queer, but its approach is built upon queer and feminist politics. We’re slowly moving away from the singular identity and trying to show queerness as an underlying presence.
Your art is defined by a documentary, almost journalistic approach towards your subjects. What stories resonate with you on the most personal levels?
How They Love is a series that is very close to me. These people shared so many stories of pain and I kind of carried them with me for a long time. It’s interesting that sometimes when someone tells you a story, they might even forget about it yet it stays with you, the listener, for extended periods of time.
You are working across very different mediums. How do you channel ideas?
It’s just being familiar with different mediums and exposing yourself to as much as possible. Be a bit of a nerd about what you do.
To me, photography is quite similar to performance art. There is an engagement between the maker of the image and the people being photographed, there is movement, and that led me to video. These trajectories just sort of unveiled themselves naturally. I don’t think of it as a very conscious process.