By Aubrey F. Burghardt
During my time as a writer for Spectrum South, I’ve established a brand with my work: holistic and inclusive profiles of some of the South’s most prolific and boundary-pushing queer artists. I’ve detailed the avant-garde performances of Experimental Action, revealed five queer southern artists you should know, and journeyed through the transformative work of gender-nonconforming artist Cassils, among others. But I want to push myself further—to try something new and outside of my standard. My intention with the piece you’re about to consume—highlighting three queer Houston photographers—is to diverge from discussing the technicalities and applications of the artwork, and rather to allow the work space to breathe and exist for itself.
To do so, I’ve showcased each of these artists’ works—many overlaid with questions and responses on their philosophies, perspectives, and processes—to create a seamless, uninterrupted flow of the power, empathy, and connection that queer lenses can capture. In a variety of ways, each image speaks for itself, an embodiment of the artists’ identity, expression, and curiosity.
Anthony Flores is currently an image technician at the Menil Collection. His education and interest in photography evolved from band photography to high-grain editorial and portraiture photography during his time at St. Edward’s University in Austin, Texas. Through ethnographic work in his vested alternative cultural and fine arts interests, Flores has developed a distinguished style that promotes heavily posed and constructed settings with a central focal subject—typically, people you’d never be cool enough to know, but sure as hell want to.
Lifestyle and street photographer Dani Benoit is really coming into her own. After graduating from the University of North Texas in Denton with a degree in radio, television, and film, Benoit assumed her current role as lead videographer and photographer for Spectrum South. What is particularly special about Benoit’s work is her ability to capture intense, yet fleeting emotions in unvarnished and uncontrived color, effectively stirring a sense of nostalgia from the viewer. Much of her work centers around queer young adults, reflective of her own environment and experience. Her work is personal and highly emotive, and she strives to memorialize moments while blurring comfort zones.
Christy Bankston’s work is sensually charged, helplessly erotic, but poignant and organic. Her professional photography includes a repertoire of weddings, engagements, bridal, and boudoir themes, while her personal work focuses on storytelling and is lust-worthy. Bankston prides herself on being able to capture tenderness and trust through relationships, whether that be friends, strangers, or lovers. Eclectic and whimsical abandoned houses often act as a background in Bankston’s work, although she prefers a blank canvas of space to keep her subject as the focal point. Her sensuality permits the viewer and the subject to deliver deeper emotions than what is typically possible.
Seeing is believing.
