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JOURNAL - 2014/15


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Olivier botta open call: paper miguel nochair homosurrealism Paul sargeant fenix diaz GREGORY MooN UNPACK THE ATTIK OPEN CALL: WE’re not in...



All contents the intellectual property of their creators. For image credits see p37


Obscured, including this publication, is run as a not-for-profit organisation. All funds raised will be re-invested in promoting queer and gay-identifying arts and artists around the world. Editor: Johann D’Nale


Staff Writer: Richard Glen sometimesnakedoftenparanoid.tumblr.com Published by: Strawbleu Publishing strawbl.eu


Magazine design ©Strawbleu Publishing 2015


facebook.com/WeAreObscured #WeAreObscured Are you a queer or gay-identifying artist, writer or other creative - then please join our special group on Facebook where members are invited to share their latest works and develop links around the world who appreciate the themes of Obscured. facebook.com/groups/obscured/


r e i liv


In a short space of time, Olivier Botta has won many admirers for his haunting, thoughtprovoking work. What’s surprising though is not the attention he has started to receive but that Olivier has only recently started taking pictures. Hi Olivier, thanks for taking the time out to speak to me how long have you been taking photographs? I am a really new amateur photographer – I have only just started to talk about myself as being a photographer. I’ve only been taking photos for a year and really only started to think about it as a work – or as something that I hope tells a story – in the last two to three months.


Interview: Richard Glen First Published: April 2015

It’s obvious you have a real gift. You mention telling stories. Much of your work to date has been self-portraits. Was that a conscious choice?

pictures you have taken. But you often look very exposed, very vulnerable. It seems a very important part of the stories you want to tell.

No; I had no choice. As I told you before, I have only been taking photos for a really short time. I had to tame the machine and learn to be comfortable with it. That was the first thing.

I like to see the body as the truth – the part of you that you can’t hide. There is so much told in the behaviour or attitudes of your body.

The second thing? I am very shy and had to work on myself to ask somebody to be in front of me and my camera. Why me as model? I guess to be my own model is a sort of therapy on my body and what I see of it. It’s funny you say that as I am fascinated about the way you use your own body, as you are naked in a lot of the

But on the contrary, you can make it says things that are not (truthful). For myself – I am shy – but I think that it is not what is felt when viewing my pictures The idea of using the body as the truth is very strong in your work. I personally love the way you use your body framed in a much larger space. There is a really strong sense of sadness and isolation in your work. —5—

I am very happy that you feel that! But I would say a nostalgia – yearning.

It’s such a striking series of photographs. Are you proud of them and the response they’ve had?

Nostalgia? Is it for a place or time – or something less clear-cut?

Proud? That’s not it – more surprised – I did not think that I would have so many responses, comments and likes.

No, not the time or place - I don’t really know why. You said that only recently have you started to think about your photography as something that tells a story. And I think it was the BodyBag series, and especially the levitation photographs that first made a lot of people sit up and pay attention. Where did that idea come from? I like the idea of the body unconstrained. An idea like liberty in the space. As a child, I often dreamt that I flew. I guess that, in my work, I now take my revenge on gravity.


But people are definitely responding to your work. Do you have ideas for where you want to go next? Nope! I will go on with the BodyBag series. And then maybe an exhibition. That’s brilliant! Do you think now you have a little more confidence you’ll feature other people or will you still use yourself heavily in your art? I used Fred, my husband, in the BodyBag series and my son-in-law. I have other shoots soon too. No subject particularly – but, I guess I will make other BodyBags!

l l a C n e op





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Based in Lille, Northern France Miguel Nochair has steadily built a following for his quirky, distinctive style of photography. His work features a diverse set of male types, both in terms of physical types and ages and combining sometimes graphic nudity with highly playful elements. I recently sat down with Miguel in his studio to discuss his art and how he developed his interest in photography. What fascinates me firstly is the story of how you started taking photographs and that it was almost by accident. ‘Accidentally on purpose’. I was in love with a dear friend of mine and I took up photography to impress him. I stayed with it because I liked and realised I was good at it. It took me a long while to admit I was good at it.

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At what point did it stop being something you were doing to impress someone else and start being something you did for yourself ? I’d say when I moved to London. I was not in love with him anymore and I was going out everyday and taking a lot of pictures. There was a small competition – of wildlife photography. I came runner-up and then I realised I was good at it. People know you now as a photographer of men. Why did you start photographing guys? Was that your own interests or something you drifted into? It was a coincidence. I started advertising free photo-shoots on Scruff, Grindr and Growlr because I wanted to expand my portfolio. So it was never going to be women anyway. But you’re not a typical physique photographer. Though there is quite a bit of nudity in your pictures, it’s not traditional beefcake imagery. What do you look for when you work with a model? I guess what I look for is both universes collide and explode. I do like when I have ideas and the other person has ideas. We can mix them together. Like the crazy photoshoots of people wearing capes and with Power Rangers toys and naked with an erection. That’s where they are born.

I mean it’s fantasy as a genre. All these heroes we had when we were young, they do grow up and they do have a sexuality. I want to show them as human beings because they cannot be ‘goody two shoes’ all their life. God knows I’ve tried! ...you do photograph quite a few different types of guys. It’s not that I’m not picky but everyone is beautiful and everyone has a story to tell. I now feel I’m good enough to find that in the photoshoot with one person. You can be thin, you can be muscly, you can be a bear, you can be whatever you are. I will take pictures of you. So, what next for you? What I would like to do is an exhibition and I kind of have a project with t shirts… Use my as they’ve been called House Models and have them wear a shirt with the others face on it. I think there’s a market for it. And I’d like to shoot women. With a camera – not with a gun!

You mention toys. There are strange juxtapositions in your work and you bring together mismatched elements, like for example toy weapons or bits of costume. Tell me about that? Because I think that people should not grow up and give up on what they liked as kids if they still like it. I was often made fun of because I still loved Sailor Moon and Power Rangers when I was 18. I always refused to grow up in that sense. I want my outside to reflect my inside. When you use these costumes and props, are you trying to find the childlike quality in adult men? I think there can be fantasy and nudity because it’s a bridge between worlds that is almost man made. You can find that in Japanese animation but its still rare in Western civilisation. There are references to manga, cartoons and graphic novels in your work. But when you say fantasy, is it your fantasy or something personal you try to tap into with your subjects?

Interview: Richard Glen First published: March 2015 — 13 —


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EALISM / homo.se.re.al.ism noun: a 21st-century art-form in which a gay artist or writer combines unrelated images or events in a very strange and dreamlike way.

get much inspiration from actual dreams. I do this at night and it gets very psychedelic sometimes. I know you have discussed Homosurrealism as being an art movement which is relevant now. Is it more about the power of consciousness and imagination than dream? Yes! The little manifesto I wrote describes it as just that. A 21st-century art movement. Man Ray had written that artistic masters get inspiration from a muse or nature, etc. Normal artists like most of us have to create it out of or imagination. In other words, it’s a thought process mixed with imagination. My understanding is that Homosurrealism is taking the language of surrealist art and adding our experience as gay men to it. I think of artists like John Waiblinger and Bruce La Bruce, both who you have featured, who use this as central to their practice?

Also: The name of both an artistic movement and a magazine. Founded by Atlanta-based artist Jack Sanders it is a showcase for international gay artists drawing on the dialogue of surrealist art from a distinctively queer perspective.

There seem to be a lot of definitions of surrealism. Some say it is two or more totally unrelated ideas that combine to form an unusual and unique piece of art. To me this is only a part of Homosurrealism. It is all of the above but transforming these ideas into a beautiful piece of art. The challenge might be taking pornographic images like John and creating a unique, unusual and beautiful work.

Where did the concept for Homosurrealism came from? Because, like Obscured, it has a very clear remit.

There is some stunning, diverse work there from a broad spectrum of artists. What is it that you personally respond to? What do you look for?

I have been interested in unusual art-forms since an early age I think that my major inspiration would be Kenneth Anger . I met Ken when I was about 16 and he gave me his address and said we could be pen pals. I was surprised because I thought he would be mean. Well, as penpals go Kenneth Anger go is not too shabby! It’s clear that his use of juxtapositions and various media was a massive influence. Yes – the music and lack of dialog was interesting to me. I was also interested in his interest in Aleister Crowley and how he incorporated magick into his films. I didn’t know who Crowley was at that age but was turned onto him by Kenneth. In terms of your interest in surrealism – especially the dream state – I can see those influences strongly in your work and the magazine. Absolutely. I am interested in dream-like images but more interested in things that cannot be – that make no sense. I get inspiration from meditating on things I would like to see. It’s sort of a dream-like state but I don’t

I look for some homoerotic imagery. Totally subjective, I know, but I love inanimate homoerotic images like boxing gloves, tools, belts, hoodies, skateboards. I am not too keen on sex organs as an artistic expression. But I would love to see somebody able to tackle the topic in a creative way. And emotion and movement are very important. Faces, eyes And from that, I get the strong impression that your work, the magazine and Homosurrealism as a movement is more engaged in eroticism than being overtly sexual? That’s a good point. I mean Bruce is definitely overtly sexual and I love his work. I don’t want Homosurrealism to shy away from real sex and real men. It’s a very thin line I guess. I think empathy and, as you say, emotion is a big factor. If you feel that desire and sexuality is treated in a very human way. Yes – if you look at the work of Piotr Urbaniak he incorporates dick into almost all of his art. Most of the guys have their zippers down and — 15 —

their dicks hanging out. But to me its art and its homosurrealism. So, in some ways, it seems about the gap between the sexual, an honest expression of it and the pornographic? I think of what you said earlier about John’s work which is reclaiming those images. And I see that as a thread in many other artists you feature. I am about the honest expression of gay love and gay sex. I want people to see the love and feel the love and creativity of the movement. I have been told forever “Why don’t you paint women? The female form is so much more beautiful.” That is how the old surrealists felt, especially Man Ray. But as I said, this is a 21st-century artform and the male body and soul is beautiful and should be celebrated. Not just in a bodybuilder way but in a transcendental way. — 16 —

Having seen the art you feature in the magazine I agree that it is a celebration of the male body and soul along with a very open agenda on what male beauty is. Speaking personally what do you consider male beauty to be ? I see male beauty as so many things. I have always craved masculinity. Not meaning straight, but strength. Not meaning lifting weights, but helping. The first time I noticed male beauty was this boy standing in front of me and he was sweating. His hair was wet. That’s male beauty. To me, it’s aggression, determination, pride. Most of all, it’s wanting what you can never have. That is what beauty means to me Interview: Richard Glen First published: January 2015

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There’s an inborn fear we have about sharing our issues. A little secret of our own that eats us up from the inside and brings us to a point where we can no longer handle it. We long to tell someone but hold back all too often from doing so. What are we afraid of? Rejection? Looking like a fool? Being judged, perhaps? Or perhaps that sometimes we might lose the identity we have built for ourselves if we deal with it and no longer have it? With a kind of anonymity social media has made it much easier to say “I’m having a shit time of it right now.” A little mention of a problem on Facebook or Twitter posts or support groups and support comes in from those you love and quite frequently from those you have never even met. We use this forum effectively, almost unafraid – we can’t see the faces of the people who disapprove and mock us. We only see the ones who have chosen to give us a virtual hug – and that helps us. I deal with my own brain all the time, a deeprooted self-loathing for my personal appearance has troubled me and shouted me down for well over half my life. I don’t have a huge problem talking about it, I am however very picky about who I have the conversation with. Secrets and Lies came about because I posted a photo of a man with a bag on his head that read “Beware: I’m Ugly” on it. The comments poured in about how I shouldn’t put myself down etcetera. It wasn’t my photo – or me under the bag – so I was able to brush off those comments. The sentiment, though, was exactly right for my frame of mind at the time. — 18 —

It was the reaction that inspired me more than the photograph. The fact that people read a sentiment that rang true for me and it caused some kind of thought process that made them upset or angry that I should think this way. I wanted to give others a voice to share their secrets. The lies really covers two aspects, one is about the lies we tell about ourselves – to protect us from others or cover up our secrets – but also about how easy it is to lie on social media. How easily we believe something written on a status by someone we’ve never met. We have no idea what is truth and what is reality sometimes, we have no choice but to take what we read at face value. So I put out a call on Facebook with my thoughts and ideas and asked people to volunteer their secrets and lies, one of each to be precise. One hundred brown paper bags were dispatched to fifty different people with the instruction to write a secret on one bag and a lie on the other, on the reverse side they were to write an ‘S’ and an ‘L’ – so I could tell them apart. I was amazed how quickly I built up a list of people who volunteered to take part in the project, and was even more amazed when the bags started returning. Some of the comments could make a person weep. I asked for people to be honest with their secrets and they were. I am incredibly grateful for that. The lies were also well thought out – some amusing, others shocking. The people who volunteered certainly put some thought in to it. I guess the point of it is that I want people to think about others in a different way. Not to judge someone who’s having a bad day, dealing with something from their past or with some kind of mental illness. These bags could be from anyone – that guy you stood next to at the train station this morning you thought was a bit of a cock, that woman smoking a fag whilst pushing a pram, that old man weeping into his cup of coffee. It could be any one of us and most of the time we will never know. We’ll never know because we don’t ask. Sometimes we don’t ask because we know there’s something and we don’t want to deal with what the answer might be. Sometimes we just don’t think about the fact that we don’t really know the people pass on the street, and sometimes we don’t really know the truth that some of our best friends keep hidden from us. Essay: Paul Sargeant

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Uno de los primeros chicos fuera del círculo de mi amigo inmediata para inscribirse oculta era Fénix Dîaz – alguien que reconocí de hacer algunas ilustraciones sorprendentes. Así que, cuando pensé en mis primeras entrevistas ‘Unveiled’ Yo lo elegí. Sin embargo me olvidé que no compartimos una lengua – Así que aquí está mi primera entrevista a través de Google Translate – en Inglés y Español. En primer lugar – felicitaciones por su trabajo – un fuerte estilo personal y una gran positivos para los hombres más peludo! ¿Cómo fueron tus comienzos, ¿cuáles fueron tus primeras obras? Comencé profesionalmente trabajando en el campo de la moda, y diseñando logotipos, decoraciones y llevando la parte artística y creativa de diversos locales de ocio, restauración y tiendas. También fui director de “Tenerife Entiende”, la primera revista canaria destinada al público LGTB, donde me ocupaba también de hacer algunas ilustraciones. Con el tiempo me fui especializando en representar el mundo Bear. Máscaras cuentan mucho en su trabajo – ¿ha considerado esto? La verdad es que usó las máscaras para representar algo oculto que quiero transmitir con mis dibujos , ya sea un sentimiento o una doble intención escondida tras lo que se ve a simple vista. También suelen dibujar superhéroes; a menudo en una forma más madura, más masculino lo que atrae a este tema.

Me crié leyendo cómics de Superhéroes en los que los personajes siempre son jóvenes y por los que parece no pasar el tiempo. Lo que hago cuando dibujo a estamos personajes es hacerles un homenaje a la vez que doy una versión más adulta que se adapta más a mis gustos. Sus imágenes varían de hombres muy fuertes que se ven bastante dominante para hombres muy cariñosos – y en cada uno el sentimiento es fuerte; Es esto algo que usted trabaja duro en? Mi interés es representar gráficamente a la comunidad Osuna actual, la subcultura gay amante de las barbas y la actitud masculina. Pero esta masculinidad no tiene nada que ver con no mostrar el lado sensible, dulce, e incluso, coqueto. Por ello los protagonistas de mis ilustraciones son hombres con barba y vello corporal, que buscan la complicidad con el espectador moviéndose entre la dureza y la ternura, mostrando que el camino entre ambas, a veces, es muy corto y sutil. ¿Trabaja usted en la memoria – o usted basa sus imágenes en las fotos que se encuentran u otras obras de arte? La verdad es que siempre estoy sacando ideas nuevas de donde voy y lo que veo para mis ilustraciones, tanto de forma gráfica (fotografías o bocetos rápidos) como haciendo uso de mi memoria. Cuáles son sus pensamientos sobre cómo los hombres homosexuales ocultan o no cambios en sí mismos para “encajar” – ya sea en el mundo o en la vida gay? Por qué no hay más espacio para la individualidad? Aunque respeto la decisión de cada uno a manifestarse libremente como hay o no, creo que vivir oculto o en un armario nunca es bueno para poder realizarte como persona. ¿Cree usted que los colectivos como Obscured son importantes o útiles para los creativos? ¡Por supuesto que sí! Colectivos, como Obscured, hacen que se conozcan nuevos artistas y que sus trabajos se den a conocer. — 21 —

Firstly – my congratulations on your works – you have a strong personal style and a great positive for furry men! How did you get started, what were your early works? I started working professionally in the field of fashion and designing logos, decorations and bringing artistic and a creative dimension to various entertainment venues, restaurants and shops. I was also director of “Tenerife Entiende” (“Tenerife understands”) – the first Canarian magazine for the LGBT audience – where I also produced a few illustrations. Eventually I left to specialize in representing bears. Masks appear a lot in your work – have you considered why this is? The truth is that the masks are used to represent something hidden that I want to convey within my drawings, be it a feeling or a double meaning hidden behind what initially meets the eye. Masks also tend to suggest superheroes; often in a more mature, masculine way. I grew up reading superhero comics in which the characters were so young and for whom time seems to stand still. What I do when drawing my characters is to create a tribute to them while showing an older version that is more suited to my own tastes. — 22 —

First published: August 2014

Interview: Johann D’Nale One of the first people from outside my immediate friend’s circle to sign up for Obscured was Fénix Dîaz – someone who I recognised for having produced some amazing illustrations. So, when I thought of my first ‘Unveiled’ interviews I chose him. However I forgot we didn’t share a language – so here is my first interview via Google Translate – in English and Spanish.

Your images range from very strong men who are dominant to very loving men – and in each the emotion strong – is this something you work hard at? My interest is to show the current bear community, the gay subculture which loves beards and other emblems of maleness. But this masculinity doesn’t mean I can’t also show the sensitive and sweet sides – even flirtatiousness. Thus the protagonists of my illustrations are men with beards and body hair, seeking complicity with the audience moving between toughness and tenderness, showing that the path between the two, sometimes, is very short and subtle. Do you work from memory – or base your pictures on the photos that are found or other works of art? The truth is I’m always getting new ideas of where I go and what I see for my artwork, both graphically (quick sketches or photographs) and using my memory. What are your thoughts on how gay men hide or change themselves to “fit” – either in the world or the gay life? Why is not there more room for individuality? While I respect everyone’s decision as to demonstrate freely or not, I think being hidden – either in a closet or in life – is never good. It is important to realize yourself as a person. Do you think that collectives like ‘Obscured’ are important or useful for creatives? Of course they are! Through groups such as Obscured, new artists can make their work and themselves known (more widely).




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Gregory Moon works primarily in photographic images – a large number of which use himself as the model. Currently working in Seattle (USA), he has almost a decade of image-making behind him – much of it in themes which resonate with the themes of ‘obscured’. Thanks for agreeing to be be interviewed for Obscured. I’m hoping that, in addition to the collaborative Facebook group that these blog posts will help others taking part to get more insight into the project’s themes from the input of the other artists who are taking part. Having looked through your site – and the links – I can see that masks aren’t a new subject for you. What drew you to capturing masked people? I use masks for many reasons in my photos but mainly I use them to erase the subject’s identity. I like to give the sense of a story to my images and obscuring the face of the model makes the photo less of a portrait and more about the situation. Interesting concept – that, by hiding more recognisable features – even of someone the audience doesn’t know, they’re better able to apply a narrative. As an artist are you conscious when making the work as to how much the viewers will see your ‘story’ and how much they apply their own? I try not to think about what the viewer will see too much. When shooting I always have a very vague

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story in mind, or at least an idea of what I would think if I were viewing the images and hadn’t shot them myself , but I love it when people bring what they see in the photos to the table. I deliberately keep the images vague and simple so they won’t necessarily be locked into a specific time period and as a result the viewers are more open to bring what they see to the story and start creating their own. The majority of your images are often auto (self) portraits – to what extent are they also auto-biographical (as opposed to simply referencing themes of interest)? I would say less than half of them are autobiographical. In most of the photos I use myself in, I am striving to make myself as generic as possible. A basic human figure or ‘everyman’ that I feel gives the images a more relatable and timeless feel. The other 30 to 40% are shot spontaneously because I am inspired by some great lighting or a particular location and need to shoot it right away. These tend to be the more auto-biographical images, because I am shooting so quickly my facial expressions and body positions are dictated by however I am feeling that day. It can be a bit alarming on a personal level when I view these photos. I always try to inject some of my humour but they usually swing from moody and depressed to highly sexualized images.

Practically and creatively – what differences do you find between using yourself as the subject and featuring someone else? And are your subjects models or coerced friends and contacts? This is something that comes up often as they both have their good points and drawbacks. From a practical standpoint, shooting other people is much easier. Taking my own photo can be very challenging. It involves a lot of trial and error and guess work simply because I can’t see what the camera is seeing while it is shooting. Having a model in front of me simplifies a lot of things. I can make adjustments instantly, move two feet to the left, crouch down, change the lighting, without having to take several shots to realize that these things are needed. Creatively though, I still find it simpler to just shoot myself. I know exactly what I want to do and just do it, without having to communicate it to anyone else . Also, there are things I am willing to do in my photos that I am still not comfortable asking someone else to do! I’ve never used an actual model, most of the people I have photographed are friends or acquaintances who have offered to pose for me. A couple of them have been very brave with what they are willing to do , but I still can’t imagine asking any of them to do something like paint themselves white

and pose nude in the woods at 8.00am when it’s 38 degrees (Farenheit – close to 0°c) out there. For now I still do those things myself. Those in my photos are all friends and contacts that genuinely like my work and want to be a part of it. Most have approached me and offered to pose, some of them have since been shot by other people. I have only had to coerce a couple of them. Sounds great – I always think I get a different response and rapport when I know the subject. The first theme for the Obscured collective is ‘Behind the Mask’; what are your thoughts on this and the first editorial. I love this theme and the editorial. Gay men – and their identities and personas – have always been very interesting to me. My own included. So, finally – what’s new with you – what’s upcoming and what should we expect from you in the coming months? Well , I am currently making plans to move from Seattle back home to Michigan. So for the next two months I will be taking every opportunity to take photos of everyone and every place here that I can. In the coming months you will be seeing many portraits of other people ! Interview: Johann D’Nale First published: August 2014 — 25 —

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g n i k c Unpa THE


In twelve months the private group that forms the hub of the collective has seen some amazing works shared by it’s members. This section of the journal shows a very small selection of the high calibre creativity you will get exposed to if you become a member of the collective.

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Dressed in white, I wait for you... In Sunday morning Solitude Like the ringing

waits inside the Bell

Like the fragrance

waits inside the Flower

Like the water

waits inside the Well

This is my Lullaby This is my Song waiting…

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Ready to be Sung

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l a n r u o J / RECOGINiSING... Front Cover: untitled Gregory Moon Inside Front Cover: Army Frank Glenn Jones wretchedgingerboy.com p4-5: BodyBag: Le garçon et La Deuch p6: BodyBag: L’épée Olivier Botta Olivier Botta Photography p7: Vaticano Urbaniak - urbaniakpm.de p8: Untitled Robert Siegelman robert-siegelman.tumblr.com p9: Male Montage Lee Balan leebalanarts.wordpress.com p10: ‘Walking Through The World You Left Behind’ Bari Goddard god-photography.co.uk p11: Ruby red rapture Johann D’Nale - butilikeit.co.uk Model: Mimo M p12/3 - Untitled Miguel NoChair Miguel Nochair Photography

p14 Derek Nicoletto body painted and posing in front of a neon sculpture by Scooter LaForge. Walt Cessna - waltcessna.tumblr.com p16 (left): from ‘No Skin off my ass’ Bruce La Bruce - brucelabruce.com p16 (right): Untitled Jack Sanders Homosurrealism p17: He abused me but I didn’t leave... p18: Sometimes I’m in the bathroom... Paul Sargeant littleeyephotography.co.uk p20: El Caballero Oscuro p22: Bendito Carnaval Fénix Díaz - fenixdiaz.blogspot.co.uk p23: Untitled p24: Self Portrait p25: Brandon p26/7: Caane Gregory Moon - gregorymoon.com p28: Canned Man Michael Church -

Pure Dirt Art

p29: Body of sin Blasze Blaszeart -


p30: Painting1787 Claudio Parentela claudioparentela.net

p31: The Fall 2015 Шехеров Сергей - Affricanezz.com p32: Excerpt from HomoEros: Meditations on Gay Love & Longing John Waiblinger & Chad Mitchell http://amzn.com/1511812087 p33: Devil Curro Medina fotoscurromedina.blogspot.com.es p34: B. Boston Robert Siegelman robert-siegelman.tumblr.com p35 (top): Earl Anthony Ozorai ozorai-a.wix.com/photography Model: Jim Trelawny p35 (bottom): Madonna in Erotica was more sexy Dario Fucci littledariolove.tumblr.com/ p36: Extended Family Album (Richard) Nigel Grimmer - nigelgrimmer.com p39: Grindr Anonymous Miguel Nochair Miguel Nochair Photography p40: One Step At A Time -027 John Lee Bird - johnleebird.com — 37 —



} Behind the masK { — 38 —

openCall t In . . . o N We’re

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. . .it’s j WE’R ust a p E h g THRO oing ase UGH — 40 —


Profile for Johann Creates

We Are Obscured (Annual 1)  

'Obscured' is a gay/queer arts collective looking at themes of identify based on social media. This is the first journal, which collates in...

We Are Obscured (Annual 1)  

'Obscured' is a gay/queer arts collective looking at themes of identify based on social media. This is the first journal, which collates in...