THE MORANS (WARRIORS AND GUARDIANS OF ISARRAT), A HOMESTEAD COMPRISING OF BETWEEN 20-40 MORANS.
The Gender Frontier
1. Jamison at Fantasia Fair
2. Cheryl Chase, intersex activist, Santa Rosa, CA
3. Young couple at a GenderPAC gathering, DC
4. Max and Cori, a reversed couple
5. Inkera with her aunt’s children, Schenectody
6. Virginia Prince, pioneer
7. Dee and Donna,learning line dancing, Baltimore
8. Brandon Theena should have been here, Gay Pride Parade, NYC
9. Sylvia Rivera, homeless, with Marlboro Man
10. Cas, with daughter-in-law and her baby near Atlanta, GA
Starting in the early ’90s, my work focused on female-to-male as well as male-to-female people who live full time in the gender in which they identify. I photographed the evolution of political activism, young gender variant people, and made portraits of individuals as their life circumstances changed. “The Gender Frontier”, published in 2003, represents an amazing decade in the struggle against discrimination.
Yolaçan’s models are fading relics of the British Empire, the distant descendants (the Turkish photographer imagines) of women who were married to the administrators of distant colonies. Now it is they who submit to the scrutiny of the lens. And it is they who now bear the badges of primitiveness.
Beyond the issues of race and unevenly distributed power, however, there is a more profound question: the confused and contradictory relationship we have with the animal kingdom. Claude Lévi-Strauss famously proposed ‘the raw and the cooked’ as symbolic equivalents to nature and culture, noting that of all the animal species only humans cook food. But Yolaçan reminds us of a simpler truth: we are what we eat.
Text by William A Ewing
Female to “Male”
Female to “Male” is a self-portrait project documenting the artist’s transition from female to “male” through weekly photographs, recorded vocal changes, documents and objects that represent a segment or moment in his gender exploration. The project offers an intimate view into the physical, psychological, medical and financial changes Neilly has undergone to shape and explore his gender. He insists on the use of quotation marks around the word “male” stating that his identity is something fluid that cannot be easily defined by use of a single word. For him, his gender and body are a construction of the ways in which he perceives himself and the queer social experiences he has lived. Neilly maintains that his trans identity is not a shift from one sex or gender to another, but rather a continual evolution.
Two Girls in Matching Bathing Suits
Coney Island, NY
The Maasai Homekeepers of Namanga, Kenya
Hââbre, the last generation
1. Ms. Djeneba : ” I used to like my scars; they were beautiful. We used to brag about them. But, now, in the city, it is definitely out of fashion.”
2. Mrs. Sinou : “I refuse to do it to my children. This will stay on my face only.”
3.Mr. Konabé : “Our parents did this not to get lost in life. When you went somewhere, you could not get lost.”
4. Mr. Lawal : “It is here in town that I am ‘nobody’. In the village, I am a noble; people bow down when they see my face! I am proud of that.”
5. Mr. Salbre : “ I do not want this for my children. We are the last generation “
6. Ms. Martine : “When I was 10 years, I asked for them. I wanted to be like my brothers and sisters, and to show that I am courageous. “
7. Mr. Guemi : “I already wear my identity card on my face. This is the reason why people did it : to recognize one another. But now, this is over. We can no more be recognized.”