An intimate look at voguing culture in 2020, in New York and Baltimore
Photo: Shan Wallace When photographer Shan Wallace was a teenager growing up in Baltimore, she found herself through voguing. While being raised by 60-plus-year-old grandparents in the Park Heights neighborhood, she began to explore and discover her own identity taking trips to visit her siblings and their friends in West Baltimore.
Photo: Shan Wallace That was about 15 years ago. Now Wallace, whose work is predicated on shooting Black people in a “critical” way that provides truthful images and stories and also adds their often-forgotten and -overlooked narratives to the historical archive, is returning to those beginnings with a new, ongoing series of over 400 images that centers not only the art form of voguing, but the ballroom community that nurtured it.
Photo: Shan Wallace “This project really allowed me to step into a place that I once was in and step into a young queer me and realize how connected I am to ballroom and to voguing because it’s a part of my understanding of my sexuality,” Wallace says. “It helped me gain my understanding of what queerness is and what community looks like because that’s really what it was — community. We didn’t compete, we didn’t do anything with our talents.
Photo: Shan Wallace The new series deals with this. Inspired by a series that Wallace shot for Medium’s Zora at Baltimore Safe Haven, an organization that advocates for and gives support to the city’s most vulnerable queer and trans people, it includes not only portraits of trans women but also photos of ballroom participants playing with their own appearance.
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