Artist Whit Forrester’s Photographs Take You Behind The Scenes Of A Queer Cannabis Farm

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Artist Whit Forrester’s photographic series, Affinity in the Tall Grasses, documents his time spent on a queer marijuana farm in California. He states:

“The work began as entertainment when I was not manicuring cannabis. I’d seen a psychic a few years prior who suggested I go back to photography which coincided with a move out west (again).  ‘Affinity’ is the documentary beginning of a body of work that continues to look at my own history within the history of cannabis, and thinking about the ways that queer history and culture intersects all of it.”

The artist explains that the work explores the connection between the legalization of marijuana in California in 1996 and the rising HIV/AIDS epidemic. He continues by stating that at the time, the Queer and Trans community (or what he refers to as LGBTTSQIQ) was heavily affected by the epidemic, and therefore, a large portion of those campaigning for legalization were within that community. Furthermore, there is inevitably a strong link between the legalization of cannabis in California and the Queer Trans community.

Affinity in the Tall Grasses is just one of many series the artist has created. His work is constantly searching for new intersections between collective history and personal selfhoods. He states:

“The work and research I do typically thinks of the ways in which identity plays into our connections, but also strives to look for new ways in which we compose our identities, and the potential ways that could change.  I am interested in larger, decentralized radical community and identify with conceptual experimentation in the service of creating new forms of social community, especially in relationship to land.”

For more of Whit Forrester’s work you can follow him on Instagram or Twitter.

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Bryan Lewis Saunders Creates Self-Portraits On Different Drugs

Psilocybin mushrooms

Psilocybin mushrooms

Absinthe

Absinthe

Abilify

Abilify

Adderall

Adderall

In 1995, artist Bryan Lewis Saunders decided to create a unique self-portrait every day for the rest of his life. In 2001 he committed to taking a different drug or intoxicant every day before making his daily portrait, calling this sub-series “Under the Influence.” From absinthe and cocaine to cough syrup and computer duster he sniffed, swallowed and smoked his way through interesting art and into mild, but reversible, brain damage.

Though these are only a small fraction of the collection of over 8,600 self-portraits, they have received the most attention, resurfacing in the media over and over throughout the years. Saunders has mixed feelings about this, telling Fast Company:

“To be honest I’m not proud to be on any drugs in any pictures. I think drugs make me look really ugly. And I’m really a six trick pony, but the world only likes one of my tricks. Each year 500,000 kids around the world discover drugs and so the virus never dies.”

The portraits themselves are fascinating. Is it possible that one day of a psychotropic medicine would have such a clear effect? Are some of these images influenced by Saunders perception of the drug, and not the actual effect of the drug itself? Does it even matter?

“For hundreds of years, artists have been putting themselves into representations of the world around them. I am doing the exact opposite. I put the world around me into representations of myself as I find this more true to my Central Nervous System.”

This is art, not a science experiment. If the idea of the drugs has more of an effect on the art than the drugs themselves, that’s Saunders’ artistic prerogative. The work is provocative and often more than a little bit haunting. The brain spilling Saunders on Abilify and the dark, isolated, limbless Saunders on Nitrous Oxide/Valium represent disturbing and disturbed states of mind. Though he no longer takes drugs in the pursuit of art, the self-portrait series continues, and continues to fascinate.

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