Seeing is Believing; Self-Portraits and Finding Me

I read a quote that really moved me. It said  “self portraits (selfies) are often such an act of self preservation and resistance.” I take a lot of self portraits, and sometimes I catch myself feeling silly about it. I wonder if it makes me vain, or makes me appear narcissistic, and people often tease me about it. Most of the time, I don’t give it a second thought. I really like taking pictures of myself, and I have a good reason for it.

A special note from me: Most the photos in this post have either never been seen by anyone except me, or haven’t been seen by anyone in years. I ask you, the reader, for kind eyes and minds as you view them.

When I was about 14 or 15, my lifelong best friend Jess and I took our photography hobby to a new place. We were late into a sleepover when, either out of boredom or innovation, we dragged out the big black trash bags of dress up clothes from when we were kids. We found the old slips and used prom dresses of our pretend-time past. Jess had the idea to do a photoshoot; she has always been a fountain of empowerment and I was in awe of her ability to own her body. We tried on the old dresses, clothes, slips, and costumes and posed before sheets covering the old furniture and cluttered boxes of my old playroom. No one ever saw the photographs; they were just for us.

Store dressing room shoot, early 2000. I was deeply embarrassed  by this picture because of the cleavage.
Store dressing room shoot, early 2000. I was deeply embarrassed by this picture because of the cleavage.

We did these shoots for years, and occasionally I would spread the practice among some other close friends. It became a passion, an addiction; especially early on, it was the only time I felt pretty. It was the only time I really felt I was what I was supposed to be: a girl. A pretty girl who could look like the other girls; who had a body like the other girls; who was one of the girls. Looking at the photos now, it is funny to see the tame, sometimes blurry shots I thought were so risque, and others where I think “Holy shit, I had no concept for how sexual that pose was!” It was an amazing experience for body empowerment. Jess and I did these bonding shoots all through high school, roaming all over the city documenting our faces, our bodies, and our lives on film. Attics,  bedrooms, parks, cloudy train tracks, mall dressing rooms, big box store aisles; we would try on everything just to see how we looked in it.  When I was 17, I wrote a poem about my intimate relationship with my camera. From what I can remember, I wrote how I wanted to “sit inside the camera lens” so that I could touch the “frozen perfection” that only film could create. I remember chalking the poem on the cement commons of my high school grounds, spiraling around in a giant drawing of a camera lens. I used to have time to create things like that… I was learning to love myself, and my body, by finding ways to portray it through art.

Spring 2002: Night diner adventures with my oldest friend, Jess. I am wearing a 1970s dress and Jess is in a thrifted costume from the Cincinnati ballet. We balanced the camera on a booth across from us.
Spring 2002: Night diner adventures with my oldest friend, Jess. We balanced the camera on a nearby booth and rushed to take the shot before the camera fell. I’m wearing a 1970s party dress and Jess is in a thrifted costume from the Cincinnati Ballet. Everyone in the place was staring. This shot, called “Seasoned Salt,” represents so many memories. Jess, you have given me some of the happiest moments of my life. I am free whenever I am with you.

When I went to college I started doing self-portrait shoots on my own. It’d be late at night in my dorm room and I’d have the urge to create something out of myself. It was around that time I formally fell in love with the “pin-up” and found a huge amount of body love and acceptance through doing pin-up inspired shoots.

Freshmen year of college, 2002: My first solo lingerie shoot. For many years I saw this picture as being very representative of what I like about how I looked.
Freshmen year of college, 2002: My first solo lingerie shoot. For many years I saw this picture as the key representation of what I like about how I looked.

I started to like myself more. I started to like how I looked. I began to put pictures of myself up around my apartment, and enjoyed talking pictures with people instead of just of them. Sometimes people would say, “You have a lot of pictures of yourself…” I would feel shy and awkward about it, but I secretly responded “It’s to remind me to like myself.” I wanted to like myself, and I did what I had to do. And though I wasn’t going to fully admit the importance of what I was doing, I was also not going to apologize for it. When I came out, I realized that I once again had no idea what I looked like. I wasn’t sure if I had ever really known. I could recognize my face, my body, my eyes… but I did not know what I looked like. My coming out and transition was extremely painful. My mind’s dissonance of what I was and what I wanted to be, of how I looked and how I imagined myself to look, is a torture I have carried for most of my life. It was not JUST about being trans, or of being a boy or a girl, of having a body part, or not having one. It was, and is, the issue of knowing who and what I am for the sake of knowing myself. Coming out as trans was a new avenue of self understanding that brought many things I had never understood to the surface… and it was excruciating.

February 2007: The "Nudes Shoot" was a five hour portrait shoot that became foundational to my trans* self portraits. It was spurred by my decision to start T. The photos discuss my feelings about my body and the "trans requirements" of it as well as to document my body before the effects of hormones.
February 2007: The “Nudes Shoot” was a five hour portrait shoot that was foundational to  how I approach my trans* self portraits. It was spurred by my decision to start T. The photos discuss my feelings about my body (and the “trans requirements” of it) as well as document my body before the effects of hormones.When I did this shoot, I had been out for year, and hadn’t done a portrait in almost as long. It made me feel like myself again. It brought me home to myself. 

I have never been the type of trans* person who wanted something specific for my body. I have gone through times where I thought I might want something in particular; a flat chest, and angular body, a taller frame, a more muscular physique, but over all I could never decide exactly what I was going for. Masculine, feminine, man, woman; this language can be useful at times but I have found that all of it is secondary to the understanding of my own humanness. When I was 18, and newly discovering femininity and “womanhood,” I learned to like the body I had. Over several years I began to own the breasts, hips, legs, waist, and overall form I had. I then went from owning my body, to loving it. When I came out, I was told that I had to change it, and even destroy it. I’ve always been more about creation than destruction. It is why I am an artist. I approach life and art the same way, and I’ve always wanted to be better at both. I went to art school once, for photography and sculpture, but dropped out within a year. I wanted the freedom to make my art whatever I felt it needed to be without someone else telling me it was good or not.  My favorite sculpture medium is clay because of its ability to take shape as anything. Throughout my childhood and adolescence, I would spend hours creating forms, primarily of the female body. They seemed so real I felt I was the clay. A couple years ago I wrote a song called “Clay.” It was primarily about my muscular disability and the feelings of powerlessness that comes with it, but as it developed I feel it became a combination piece of how I felt about transforming my body in general. When I started to take testosterone, I approached my body like clay. I realized that my body is malleable,  fluid, and moving. My body is mine. I do not have to fit my body because I can make it fit me. I am the sculptor of my own shape. I do not have to destroy it to change it, I do not have to change it to own it, but I have the option and I can own the changes I make.

 December, 2007: In my bedroom, four months on T. This shot encompassed the exact image of masculinity I wanted to embody.
December, 2007: In my bedroom, four months on T. This shot encompassed the exact image of masculinity I wanted to embody. This shoot grounded me in an otherwise empty and confusing space.
 July, 2008: Newly pink-haired, the "Fuschia Shoot" was a turning point for my self-portrayal as a genderqueer body, though I would not come to think of it in that language until several years later.
July, 2008: Newly pink-haired, the “Fuschia Shoot” was a turning point for my self-portrayal as a genderqueer body, though I would not come to think of it in that language until several years later.

This Sunday marked my 7 year anniversary of coming out as trans (or my transiversary, as I like to say). Several friends asked me “Does it feel like it has been that long?” to which I answered “It feels like it was just yesterday, at the same time, it feels like it’s always been this way.” This isn’t about me having it all figured out or that my journey with gender is “over.” Quite the opposite, actually. I spent most of this past year feeling like I was coming out all over again (but that’s a whole other blog post). The difference, I suppose, is how I have been addressing the process. The concept of processing gender, though no less painful, has become somewhat normalized to me. It’s like when you’re a teenager first experiencing heartbreak you have no idea what to do or how to help yourself, but when you’re an adult you’ve been there so you already know what to do. You can say to yourself: “Yeah, I recognize this shit. It hurts but it’ll be over soon enough.”

 December, 2008: When I did the "Watermelon Shoot" I didn't have the insight to recognize what I was processing. which was inner conflicts with sexuality (and gender). At this time, I had emotionally isolated myself, creating terrible heartbreak for me and my (incredible) partner at the time. This shot, and the emotion expressed in it, was captured accidentally. This also accounts for the skewed angle catching the framed pictures of myself and friends at a simpler (and more butch) time in my life.
December, 2008: The “Watermelon Shoot” was about seeking sexual power. This shot was captured accidentally in between poses, which makes it even more significant. My expression reflects the exhaustion I was feeling towards my inner conflict with sexuality (and gender). Trapped in an emotional ice age, I isolated myself causing terrible heartbreak for me and my partner at the time. The shot also conveniently includes framed pictures of me with friends at a simpler (and more butch) time in my life. I dedicate this rediscovered piece of myself to you, Jackie. Thank you for all you went through for me and for being one of the best friends I could ever dream to have.

My transition was a pivotal time for me, but after seven years its significance (in some ways) seems to fade and blur into the rest of my life. What is left is just being me; thinking about it, working on it, and noticing that some of it happens to be labeled as genderqueer/trans. And as “trans issues” fade into the paint, I am left looking at the walls, my walls, that I built a long, long time ago… I might have even been born with them. Walls are not always bad; Walls are needed to protect and manage our inner selves, but they can trap us. Walls, and the need to hide behind them, is so easily enmeshed into the trans experience. For a while, the main reason I was hiding was greatly connected to all the shit that comes with being trans. What I think I lost sight of was that being trans wasn’t my only reason for hiding. I have spent so much of my life hating myself. I have spent so much of my life hiding. In hiding I have found ways to love myself more and protect my self better. Because of hiding I have spent so much time fighting… All of these feelings have been carved into my walls, and as I read the writing on them I have discovered that I am flat out afraid of showing myself to anyone, sometimes even myself. When I do a self portrait, I am facing myself. I am reminding myself that I am ok. By showing these portraits in this post, I am making the decision to face the world.

A couple years ago Kate (Bornstein) and I were goofing off taking selfies, one after another. She laughed and said “We trans people fucking love pictures of ourselves. We can’t get enough!” I smiled and clicked the shutter on the camera, thinking of how right she was. Like anyone, trans* folks work really hard to be ourselves, and we work really hard to look like ourselves. Many of us hide from our own image, sometimes we don’t even know it. I have never been a stranger to the mirror. Throughout my life, I have spent a lot of time looking at myself, especially as a child, because I was trying to learn what I looked like. I would stare deep into the mirror hoping that the image of my eye would swallow me into an Alice in Wonderland hole, dropping me into my mind so that I could see who I was face to face. I would often comb my hair to the side, like my dad does his hair (and ironically similar to how I do my hair right now). I remember  one time, combing my hair over and looking deep in the mirror; for a split second I felt like I saw something real. It scared me so much I jumped off the sink, mussed up my hair, and started pacing the bathroom floor in a panic. I must have been about 12; I remember  writing about it in a prose series I wrote to myself called “Dear Jim.” The poem started with “I saw you today.” I am continually trying to re-capture the image I saw back then. Over the years, I have gotten better and better at it. The result has been more and more pictures of me. The statement “self portraits (selfies) are often such an act of self preservation and resistance” says more to me than I can really describe. It speaks to the mes of the past, standing alone with a camera, trying to capture my insides in the shape of my outside. I still love to do photoshoots. Every now and then, I’ll spend a few hours finding some form of temporary, personal perfection in my body. In the split second it takes the shutter to engage, I can see myself, and I am real. It is an act of resistance against a world that would rather see me erased. It is an act of self preservation to remind me that I am alive and that I am human. No one ever sees these photographs. They are just for me… and now some are for you.

March, 2012: This shot, called "Bubblegum," is out of the "Suicide Boy" shoot which was very significant in the processing my genderqueer identity and femme body. This was a shoot that healed me.
March, 2012: This shot, called “Bubblegum,” is out of the “Suicide Boy” shoot which was very significant in the processing my genderqueer identity and femme body. I was heartbroken. This shoot helped heal me.

If you find yourself feeling alone; if you are suffering, please know that you are not the only one. I am like you and I promise to try to show that more. There is no shame in hiding, it is something we all need to do sometimes… sometimes for a long while. Take your time. I hope that me taking this tiny step out of my hiding place will encourage you to feel safer in yours, and maybe help you take a step out too someday. I am grateful to all who have been there for me, helping me come out, or stay in: My amazing parents, my beloved sister (and new brother), Jess, Alex, Al, my family and chosen family, my friends, my mentors, my people, and my kitties too. Thank you.

Pictures of a Genderation – Gender Outlaw: The Next Generation

I’ve never been a book person. Reading has never come easy to me, resulting in my rarely reading anything. Sure, I read signs and emails and 142 character tweets, but my brain refuses to give up my 7 year old mentality of if a book doesn’t have pictures, I’m not interested. And though I have never been a book person, I am an insatiable learner. My inability (or refusal) to read has caused a lot of problems with this, starting with bad grades as a kid and then escalating to a much more frustrating fate. It puts me at risk of being left out of my communities. Most of our breakthrough thinkers and epiphany-enduing personal stories are only found in, you guessed it, books. So what’s a dyslexic femme boy to do? Just gotta suck it up and read some shit, or better yet get a cute queer to read aloud to you Jane Austen style while you recline on a sofa with an undeserved sense of accomplishment.

I know, I know, I’m amazingly smart, but I wasn’t always this awesome. Before I was clever enough to enlist a cute reader I had to laboriously read books to myself. One of my early labors of love, and possibly the first ‘gender’ text that ever spoke to me, was Kate Bornstein’s Gender Outlaw – not because of its theoretical or activist implications, but because of Kate’s poetic gender-fuck-you, “Its my life, I do what I want” mentality. The book may not have changed my life, but it made me feel like I wasn’t alone – something I surely already knew but had never been proven to me until then – and that changed my life.

Kate and S. Bear Bergman just edited a new book: Gender Outlaw: The Next Generation and once again I am being taught things I thought I already knew, or maybe just needed to be re-told. The book opens with a heart-warming conversation between Kate and Bear. It is like hiding behind the kitchen door while your parents talk about you, but instead of your parents in a traditional sense, its your trans-queer family and instead of talking about you specifically, its your community. And what is “community” but a broader reflection of ourselves, what we’ve done, and what we need to do? (And what else do parents talk about but what you did and what you need to do?) And though community in a sense is about us, community isn’t one thing or type of person because every community is made up of countless other communities. Its a group of intersectional identities bound together by a common identity or experience and this forms some intangible matrix that we exist in and our existence makes it visible. Now, I could make Kate and Bear very happy by expanding this borderline sci-fi reference into a full sci-fi metaphor but I am not cool (or un-cool) enough to know how (sorry darlings <3) so I’m going to talk about paintings instead. A Monet painting. Its made of millions of different sized, shaped, and shaded strokes create something recognizable. Someone may only see the greater image without seeing the individual strokes that form it, and some strokes may be more visible than others, but there are no true lines, no way to define where one shape starts and another ends or which has more impact on the finished work of art. It all depends on who’s looking and what they are looking for. That is why this anthology is so relevant to our community now. It is a collection of various strokes and swabs from the greater work of our community so that we may get a better idea of what we’re looking at when we stare into that mass of color on canvas.

Recently, I have been especially frustrated with the barely moving, politically stunted and socially constricted suffocation that is my Midwestern hometown’s “gay” community. This book reminded me that I’m not out of my wits, not just in reference to my genderfucked femme trans-radical queerness. It also focuses on socio-political state of our community through its presentation of multifaceted political consciousnesses of privilege, language, power, race, class, and accessibility. It discusses who we are in our differences and similarities, what we are doing now, and what we need to do to better the future. Sometimes the only push we need to keep going is to see that we are not the only one who is fighting, who is living a life like ours while also working to enable others to do so in their own right. I can’t tell you this book will change your life, but it may remind you that you’re not alone. And if you’re like me, and not a book person, they got us covered. The book has pictures.

IDKE XI Tucson: No Borders!

Well it has been quite the weekend. The International Drag King Community Extravaganza had its 11th conference in Tucson, AZ. There were kings, there were femmes, there were genderfuckers, there were cactuses… It was a good time had by all. I will probably post some commentary stories relating through the week. I had a great presentation of “Bending Desire” with some great discussion and I was busy busy either backstage and or front for the rest of it! I would have done it when I was there but I was too busy actin’ cool… as a cactus… which is actually probably hot and prickly… which is also sexy.

Here are some pictures of myself with some dear friends, who also happen to be amazing big deals. Well you know what they say about birds of a feather… ;)

jac and kate

Cuddling with Kate

JACMcFaggin

Me during my performance piece

More pics under the cut ~~~~~~~~~~~~~~~~>

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