Beautiful Boy Chapter I
‘Beautiful Boy’ is an ongoing series of photographs of my lover. It began as a confession between friends. On the subway one evening, my friend shared that he had worn women’s clothing almost exclusively in college, but after graduation struggled to navigate a world that seemed both newly accepting and yet inherently reviling of male displays of femininity. I thought that photography could provide a space to experiment outside of isolation. Taking the first pictures was an emotional experience, and I connected to his vulnerability. Over time he became my muse and eventually my romantic partner. Soon we began taking photos like addicts, setting up several shoots every weekend.
When taking the photos, I feel the same as when viewing a film where a director and actress share a deep connection to the fantasy captured. It is thrilling to see my partner transform into countless goddess-like forms. The project is a canvas to project our desires. At times the images even become self-portraits. The camera transposes our private experiences into public expression.
Often, I construct sets in my studio. Other times, I seek out locations that feel as if they are sets. I spend a lot of time conceptualizing the costumes, which I piece together from thrift shops, ebay, and discount fabric outlets. I think it is important that the images not be seamless, but more like an assemblage where you can see the glue, revealing contemporary identity as a collage of the visual language of the past. Although I art-direct the images and come to each shoot with a strong aesthetic intention, my partner inhabits each costume and set in a thoughtful way, embodying the scenario with a sense of openness.
It is important to show his femininity as strength. I want to feel empowered as well, and to have an intimate muse. Together we investigate feminine fantasies presented throughout the history of photography and cinema. The project is a way to ‘step-inside’ images that we have found alluring and examine what it is like to live each scenario out. We explore both our captivation and our ambivalence towards these depictions of femininity. By presenting my partner within the lineage of great beauties and populating the media with our images, we are reclaiming our voice in what is attractive and beautiful.
"An Artist and Her ‘Beautiful Boy’." The New York Times
"Lissa Rivera: Confessions are Sonnets." Metal Magazine
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