Looking at photographs that pre-exist me, I am naturally drawn to look for a history; as everybody else, I intuitively project myself onto the ephemera left through time, envisioning connection and associations.

Nevertheless the queer narratives doesn’t go that far, gender not-conformity doesn’t speak the language of the past, or better, it has a age-long existence, but, as we know, a closed one.

“Queerness is often transmitted covertly. This has everything to do with the fact that leaving too much of a trace has often meant that the queer subject has left herself open for attack”[1]

That’s why the ambiguity and ambivalence of the photographic message serve so well my queer sight, which analyse, collect and confront found photographs and archive material with a fundamental impulse: re-claiming an hidden queer history.

The notion of queerness back then didn’t gather the contemporary meaning, but still, retrospectively, can be a useful umbrella to embrace a touch, a sight, a reading that doesn’t feel conform, that condense a different way of being.

Images have slippery meaning, that is re-adjusted following historical context as much as through the eyes of their reader. My queer gaze act on the photographic surface and leave the material collected with a queer understanding, embedded in desire and affection, even if veiled.

[1] José Esteban Muñoz, Ephemera as Evidence: Introductory Notes to Queer Acts. Women & Performance: a journal of feminist theory, 1996.