Currently existing in a society where the topics of sex and gender are generating more conversation due to the increase in the number of people who are challenging these notions, what is becoming more and more apparent is that the gender binary is flawed. People who are transgender and intersex are displaced in the struggle to conform to society’s gender construct, as the binary does not allow for a space to exist within the two. The system results in the ‘Othering’ of those excluded from the binary and it is this area of ‘inbetween’ that I am investigating in my practice.

I began making chemical portraits, which involved cooking 35mm film in hormone replacement therapies prescribed to those seeking gender reassignment. The image outcomes evolved into gel transfers as i found the prints themselves did not sufficiently represent the transitional process in its entirety. Gel image transfer is a method implemented to left the pigment of an image from paper onto another surface. However, rather than transfer the images onto a surface, i left them to exist as simply gel to create a photographic image that would evoke an ‘inbetween’ space. The gel transfers also bared a transparent quality i sought to exemplify gender’s fluidity and flexibility.

The formatting of the perspex and gel prints in my piece ‘Transceutical’ is a gesture to medical slides, reflecting upon the synthetic process one must undergo to in order to have officially altered one’s biological sex. This reference highlights the debate that gender is merely a social construct forged by the patriarchy and is separate to sex. The push and pull of the two notions incorporated with one's personal gender identity reveal a grey area, a space of blur and overlap. This space is where 'Transceutical' lies, inbetween.

Using Format