capturing moments, curating experiences, & creating community.
Charlie Champagne is a creative entrepreneur passionate about photography & design, event production, and community collaboration.
Catharsis Within The Collision of Cajun Culture & Queer Eutopia
On Friday, October 4, 2024, the Acadiana Queer Collective & the LSU Department of French Studies, collaborated on a Queer Cajun Music Showcase, in honor of LGBTQ+ History Month, at Hideway Hall in Lafayette, Louisiana.
Photography & Documentation by Charlie Champagne, 2024
On Friday, October 4, 2024, the Acadiana Queer Collective & the LSU Department of French Studies, collaborated on a Queer Cajun Music Showcase, in honor of LGBTQ+ History Month, at Hideway Hall in Lafayette, Louisiana.
This event was more than just a zydeco music showcase. It was a night of catharsis for all of the queer people in the room, especially those who grew up in Acadiana.
As for myself, growing up in New Iberia as a queer kid, was both confusing and intimidating at times. Growing up, we were taught to love, respect, and help one another. But why was that different for those who were LGBTQ? Why did I NEVER see people like me growing up? Where were they hiding, and why?
Meagan Benoit / Percussion / Mandolin / Singer
In all of my memories of attending festivals, concerts, and fais do-do’s, I almost never saw queer couples on the dance floor. If you did, they were most likely older and people would just say they were “friends” or the good old-fashioned “roommates” cover-up. It was rare to see LGBTQ+ couples celebrating their love publicly. So, to have a night dedicated to not only providing a safe space for queer people to gather, but to celebrate the Queer and Cajun musicians as well, was incredibly special. In my 32 years of being both Queer and Cajun, this was the first night where both identities were able to co-exist and be celebrated.
Gina Forsyth / Fiddle / Singer / Songwriter
Jan Boney / Guitar / Vocalist
People underestimate the importance of visibility.
Those who exist in the heteronormative world, are blind to their privilege of being able to exist in a world where they see versions of themselves every day. Their identity isn’t questioned on a daily basis, and their existence doesn’t challenge local dogma or religious principles.
People don’t realize the commonality that both Queer culture and Cajun culture share. Both identities carry rich histories of resilience, cultural expression, and resistance to marginalization. Though each group may have its nuances, their stories reflect the universal human drive for dignity, identity, and belonging.
Sam Wrobel / Bass / Vocalist
Rosemary Benoit / Accordion / Fiddle
Cajun culture focuses on preserving history and tradition, while queer culture often pushes against traditional boundaries to create new possibilities. However, both are marked by historical oppression, the experience of being an outsider, and the power found in communal bonds. These identities, in their own ways, both honor their histories while continuing to resist cultural erasure and find joy and strength in their unique paths.
Both Cajun and Queer identities revolve around community, resilience, and the strength of being different.
please enjoy the full photo gallery below
The Mission of the Acadiana Queer Collective is “to provide opportunities for queer people of Acadiana to show up for one another and promote the positive visibility of queer people throughout the community.”
Counteracting Censorship through Conceptual Creativity
The Free Pages Project, a nonprofit initiative fighting national book-bans in the US via conceptual and functional sculptural pop-up libraries.
Monthly Q&A / September / 2024
The Free Pages Project, by Alex Smith, documented by Charlie Champagne
This month, I re-connected with my friend Alex Jacobs to see how grad school had been treating them, and to learn more about their exciting thesis, The Free Pages Project - a nonprofit initiative fighting nationwide book-bans through conceptual & functional art.
Alex is originally from St. Louis, Missouri, and is currently enrolled in the LSU Art & Design Graduate Program for Sculpture. Their work currently focuses on the conceptual nature of identity, gender expression, and representation.
Alex Jacobs / photographed by Charlie Champagne / Louisiana State University / 2024
So tell me more about what inspired this project?
Alex: “In my work, I focus on the concepts of gender-identity, gender-expression, and representation. While I was trying to decide where to focus for my thesis project, I couldn’t help but notice the recent legislation of book-bans that have been popping up all over the United States — and in the realm of representation, these bans really hit home for me.
The idea really stemmed from listening to a podcast that mentioned Magnus Hirschfeld. He was a queer and jewish man, who was born in the 1800s. He was a sexologist and researcher, pre-Kinsey. When you see pictures of Nazis burning books, there were from his entire library. All of his documented queer oral histories and stories of queer culture had been lost. I see today’s current book bans as an extension of that same mechanism that consistently attempts to erase our stories & narratives — in an attempt to white-wash American history.
via Shutterstock / Thousands of books smolder in a Nazi bonfire, 1933. The burnings were conducted by the German Student Association of Nazi Germany.
And it’s not just queer people, it’s people-of-color, women, etc. These people imposing these book bans just want some sanitized version of American history that they don’t have to feel bad about, when in reality, it’s much more colorful.”
How have these feelings helped fuel and manifest the concept for The Free Pages Project?
Alex: “In response to all of that stimuli, I started creating structures that could hold these banned books, similar to Little Book Libraries. I am currently wanting to use private spaces to house these unique and creative pop-up libraries to allow these books to be accessible to the public. If these stories are taken off shelves, then that representation disappears, especially in places where they are needed the most.”
Alex: “These legislative bodies and school boards, all seem to copy one-another. This is how they seem to spread before they become a national or federal rule, they pop-up in local governments. As small as a little town, county, or parish, and eventually spread across the entire state.
Charlie: Have you been keeping up with book-bans here in Louisiana?
Alex: Thankfully, Louisiana right now only has under 10 official challenged and banned books, but if I had to guess with the current state legislation, that may begin to increase within the next few years.”
Over 10,000 books were banned in public schools during the 2023-2024 school year, according to PEN America’s preliminary findings.
“This dramatic increase is nearly triple the number from the previous school year, when PEN America recorded 3,362 bans nationwide. The final count for the 2023-2024 school year will be released later this fall along with a public Index of School Book Bans. PEN America will also release a detailed content analysis of titles banned during the 2023-2024 school year.” ”
When it comes to representation, it’s pretty understood that if you don’t see yourself in the media you consume, that’s when you start to think things like, “So, am I abnormal? This isn’t something other people experience?”
The Free Pages Project is dedicated to freedom of expression and the richness of diverse literature through our mission to counteract censorship. By constructing unique sculptural community libraries, we provide access to books banned in schools and community libraries across the United States.
Our commitment lies in fostering community engagement, activism, and literacy. We believe in the transformative power of diverse voices and stories, and through our innovative approach combining art and activism, we strive to educate, enlighten, and empower individuals and communities nationwide.
Alex Jacobs / photographed by Charlie Champagne / Louisiana State University / 2024
Contact The Free Pages Project & Learn More about the project by visiting www.thefreepagesproject.com
Intersecting Lines, Handpoke Tattooing & Queer Authenticity
Intersecting Lines, Handpoke Tattooing & Queer Authenticity. An interview with @tattoo.dude, a Southern Queer DIY Handpoke tattoo artist here in Baton Rouge, Louisiana.
Last month, I had the privledge of sitting down with @tattoo.dude to chat about their journey into handpoke tattooing. We talked about self-tattoing as a teenager, to tattooing friends out of their dorm room in college, to now operating out of their home studio here in Mid City.
We also talked about the resurgence of DIY tattooers, creating a safe-space for Southern LGBTQIA+ people, as well as their creative process and experience thus far as a queer DIY handpoke tattoo artist here in Louisiana.
First things first, why do you do what you do?
Colin: “I just love connecting with other people. Especially with other queer people, on what they find important about their life, and putting that on their bodies.“
How was it, for you, growing up queer in Louisiana?
Colin: "I grew up in the Lafayette public school system. As you can imagine, I went through the usual chaos of trying to hide who I was, while at the same time trying to figure it out for myself as well. I came out in middle school, and it's quite a funny story.
I wrote down on the tiniest piece of paper, “I’m gay”, and I had every intention to give it to my brother first. But, I chickened out and put it in my drawer. Eventually, around Christmas time, my mom found it picking up in my room, and she placed it on the Christmas tree. She was like, “What does that say? Who wrote that?” and they were all really cool about it. I was not ready to come out at that time, but I am really grateful it happened when it did.”
How long have you been tattooing?
Colin: Well, I’ve always loved to draw and was always interested in the artform of tattooing. When I was about 17, that interest and desire kind of escalated, and I started tattooing myself to learn more about the technical aspects of tattooing. Then, some of my friends were like, “hey, I want a tattoo too!”, and so, I slowly started tattooing more people; starting out with small tattoos, of course!
Colin: Once I got to college, I started doing tattoos out of my dorm room, then eventually out of my apartment, and now I finally have this gorgeous lil’ home studio that I’m OBSESSED with.”
What I loved about Colin’s space, was that they had several pieces of art ALL from local artists both here in Baton Rouge and the surrounding other parishes. Some are even original pieces and concepts of their tattoo work. The rest of their studio is garnished in the most quirky and eclectic way possible, yet there seems to be a nice balance & cohesion to the space.
What’s your tattoo process like? Do you freehand everything?
Colin: “Well, everything I tattoo is handdrawn by me, but I mainly do use stencils when applying the tattoos to my clients. However, there are situations where I do freehand the design, especially on certain body parts, like ears and fingers.“
Do you feel like there is a lane for you in tattooing?
“Definitely, I really love the fact that I do machineless handpoke tattoos, which of course, doesn’t require electricity - and feels kind of “back to the roots type sh*t”
Colin: You know, not too many people here in the South seem to do handpoke tattoos, so I recognize that fact, and am now able to provide that option for people while also creating a safe space to do so. Alot of people tell me that their experiences with handpoke tattoos are always alot more chill and stress-free in comparison to going to a commericalized machine-gun shop, where you traditionally have to deal with very “macho-manly-men”, and that can get kind of scary and intimidating at times. Especially for queer people.
“Here, I’m a complete safe-space for queer people. Basically, all of my clients are gay as f*ck. “
Colin: For Pride month, I usually do different abstract queer themes, sometimes with different pride flag colors, or whatever other gorgeous pieces I can collaborate with my clients on.
Colin: Overall, it’s been great being able to meet so many cool people who appreciate my skillset and style. It’s also rewarding to be able to connect to so many queer people in the process. I feel that me, being open about who I am, helps attract more of those types of people. There has been such a resurgance of DIY handpoke tattoo artists, especially in the queer community.
This particular trail of thought, really intrigued me during our conversation. I began asking myself,
“What is so inherently queer about DIY handpoke tattooing?”
Why could their be such a resurgance of DIY handpoke among the queer community specifically? What common threads do they share?
DIY handpoke tattooing and the queer identity share a profound link as forms of self-expression that defy conventional norms. Both are often perceived as alternative to mainstream practices, offering individuals a canvas for authentic representation and personal narrative. For many in the queer community, handpoke tattoos provide a means to reclaim their bodies on their own terms, celebrating identities that may otherwise be marginalized. This intimate, hands-on approach to tattooing fosters a sense of empowerment and self-determination, echoing the broader ethos of queer culture's resilience and creativity in defining one's own narrative.
Follow & Support Colin:
Instagram: @tattoo.dude
Anointing The Artifice, by Caleb Gridley
The Arts Council of Greater Baton Rouge, hosts Pride Month exhibition, Anointing The Artifice, by Caleb Gridley.
Photo documentation by Charles Champagne.
Q&A with Charles Champagne & Caleb Gridley.
Exhibition documentation & Q&A by Charles Champagne
The following documentation is in regard to The Art’s Council of Greater Baton Rouge’s Pride Month showcase, “Anointing The Artifice”, by Caleb Gridley, which will be on display from June 1 - July 12, 2024, in the Shell Gallery located inside the Cary Saurage Community Arts Center.
What does this show mean to you?
Caleb: “Anointing the Artifice is both a prayer and malediction to the art of fame. My art functions as a translation of the implicational relationship between audience and celebrity. This exhibition serves as a study of fame, examining those who have it, those who don’t, how it is obtained, and its impact on mainstream mentality both consciously and subconsciously.
Caleb: Three separate bodies of work are on display and in their way each of those delve into the vast realm of how our perception of self can be manipulated through the utilization of digital technology, physical augmentations, and mainstream/social media influences. Anointing the Artifice endeavors to incite profound introspection concerning the essence of self-identity and seeks to engender contemplation on the far-reaching impact of technology, the omnipresence of pop-culture, and the dichotomy of fame.”
What was your reaction when you found out your show was selected for The Art Council’s Pride Month show?
Caleb: “Being chosen to exhibit has been both humbling and exhilarating. It’s a profound sense of recognition for the years of effort that it took to create my current collection of art. It's a moment where someone else sees the value in the world I've constructed through my work. I’m immensely grateful for the opportunity to share my vision with a wider audience and look forward to them forming their own connections and interpretations.”
How has your experience been navigating life as a queer person/artist here in Southern Louisiana? Any special or sensitive memories come to mind?
Caleb: “Southern Louisiana simmers with palpable energy – a rich gumbo of cultures, traditions, and vibrant contradictions. Growing up within this unique zeitgeist undoubtedly shaped the artist I am today. It instilled in me a critical lens that extends beyond myself, fostering a deep appreciation for diverse perspectives.”
Caleb: “This land is no stranger to hardship. We've weathered countless natural disasters, tragedies, and moments of collective loss. Yet, in these moments of vulnerability, our community shines brightest. The outpouring of care, unconditional love, and unwavering support leaves you speechless. It's a testament to the strength and resilience that flows through the veins of Southern Louisiana.”
Caleb: “However, navigating a landscape steeped in tradition also presents its own set of challenges, for not only myself, but countless other individuals whose mere existence challenges the ideals within those traditions. Despite these challenges, I've found a deep appreciation for authenticity in this community. People are genuinely intrigued by artistic expression that fosters open dialogue and challenges perspectives.”
Caleb: “The real struggle transcends Louisiana and speaks to a broader human condition: the fear of the unknown. Humanity, in its current state, tends to reject what it does not understand. My art heavily integrates pop culture, media, and the concept of fame because these forces play a significant role in shaping our collective consciousness. It is imperative for the industries that feed our minds and encapsulate the context of our lifetime to be exponentially inclusive, for they’re not only creating depictions of what will be our history, but also defining the possibilities of our future. They have the power to break down barriers and foster a world where understanding replaces rejection.”
What is one thing that you hope people walk away with from this show?
Caleb: “We live in a world fueled by comparison. A constant barrage of seemingly perfect lives on social media and the ever-present "grass is greener" mentality can leave us feeling diminished. But here's the truth: you are inherently powerful. Trillions of cells conspired to create your rare form, a vessel for a consciousness unlike any other in the vast expanse of humanity. There will always be someone seemingly smarter, funnier, wealthier – the list goes on, but they can never be you.
“Your quirks, your talents, the sum of your experiences – these are the hallmarks of your individuality. These are not flaws to be hidden, but strengths to be celebrated. Imagine a world where every song sounded the same, every brushstroke mirrored another.”
Caleb: “Instead of viewing our differences as dividers, we should celebrate them as the specialized cells that make up the robust organism of humanity. Each individual, with their unique strengths and experiences, contributes a vital function. When we celebrate this diversity of perspectives and talents, we create a symphony of human potential, a powerful force far greater than any individual could achieve alone. This is the essence of true unity – not uniformity, but a collaborative ecosystem thriving on its rich biodiversity. You are a unique expression of life, embrace the power encoded in your very DNA.”
Caleb Gridley, Transmutation
LSU Theatre presents: The Book of Will
Recently, I was hired to photograph the dress rehearsals for LSU Theatre’s production of The Book of Will, by Lauren Gunderson, where Shakespeare’s friends work together to publish a complete collection of his life’s work to make sure his memory stays alive following his death. The show runs February 15 - March 5 in the Claude L. Shaver Theatre.
Director | George Judy
Set Design | James L. Murphy
Costume Design | Bethany Sassen
Lighting Design | Smaida Massatt
Sound Design | Tyler Kieffer
Props Design | John Michael Eddy
Associate Director | Makaylee Secrest
Stage Manager | Isabelle Louis
Originally commissioned and produced at the Denver Center Theatre Company
A division of the Denver Center for the Performing Arts
(Kent Thompson, Artistic Director)
Subsequent Rolling World Premiere produced by
Hudson Valley Shakespeare Festival, Garrison, New York
(Davis McCallum, Artistic Director; Kate Liberman, Managing Director)
The Book of Will is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com)
Q+UMBO: Queer Art Therapy Workshops
Q+UMBO: Queer Art Therapy Workshops, 2023 Pilot Project of The Community Collaborative: By The Community, For The Community at the LSU Reilly Center for Media & Public Affairs, created by Charlie Champagne.
This pilot project was made possible thanks to The LSU Reilly Center for Media & Public Affairs funded grant workshop, The Community Collaborative: By The Community, For The Community.
“Art washes away form the soul the dust of everyday life.”
- Pablo Picasso
What is Q+UMBO?
Q+UMBO is an art workshop aimed at utilizing creative art-making activities to facilitate dialogue that fosters inner healing, while promoting community-building between members of the LGBTQIA+ community.
The purpose of this pilot workshop is to conduct research on the impact therapeutic art practices can have on one’s mental health. By combining arts and crafts with the idea of coming together to make a gumbo, participants will not only be creating something visually appealing, but they will also be engaging in meaningful self-reflection. This workshop will be collaborative encouraging creativity, individuality, and how that comes together to form a thriving diverse community.
Why is this project important?
Q+UMBO is important because it is providing our local queer community of LGBTQ+ young people a space to come together for an opportunity to better themselves mentally, emotionally, psychologically, and sometimes even spiritually. It’s important for queer people to know that they are seen, loved, and most importantly, heard.
In the face of the current anti-gay political climate, creating a safe and inclusive space for the LGBTQIA+ community to share stories of vulnerability is more crucial than ever. These spaces serve as sanctuaries where individuals can express their authentic selves without fear of judgment, discrimination, or persecution. Sharing personal stories within the LGBTQIA+ community fosters a sense of solidarity and empowerment, allowing members to find common ground and build connections with others who may have faced similar challenges.
“I enjoyed being able to feel completely safe in a space full of people who wanted to get the fullest out of this experience”
- Amaizeya Khaili
By coming together and sharing their experiences, community members can confront the hardships imposed by the anti-gay political climate, reaffirm their resilience, and amplify their collective voice for equality and acceptance. Sharing stories of vulnerability within the LGBTQIA+ community also serves to humanize and dismantle harmful stereotypes perpetuated by anti-gay rhetoric. These narratives provide a counter-narrative to divisive language and challenge misconceptions, fostering understanding and empathy among community members and allies.
The collective power of this workshop’s activities will cultivate a sense of hope, igniting a movement towards a more inclusive, compassionate society that embraces and celebrates the beautiful diversity of the human experience.
“This was a beautiful experience and i’m so glad I went!”
- Alexis Budyach
ACTIVIES & EXCERCISES
Self Check-Ins & Emotional Landscapes
Journaling & Mixed Media
Q+UMBO Paper Collage Activity*
The Art of Meditation & Mindfulness
LSUMOA Gallery Tour of current LGBTQIA+ Exhibitions
Pride Pots at the Shaw Center of The Arts Plaza
*indicates premiere workshop
Meet The Facilitators
Lorraine Murphy, LPC, ATR-BC (She/Her)
Founder, Counselor at Safe Haven Arts of BR, LLC / Art Therapist / Yoga Instructor / Vice President of the Louisiana Art Therapy AssociationLorraine Murphy has over 20 years of experience working with children, adolescents, and adults. She provides both in-person and online clinical services to individuals, families, and groups. Lorraine specializes in anxiety, depression, trauma, attachment, and interpersonal relationships.
Shiloh Langlois (They/Them)
Shiloh recently graduated with a Dual Master’s in Art Therapy and Counseling. They focus on anti-oppressive work, utilizing artistic expression for healing, especially for minorities, such as those in the LGBTQIA+ community, and for those who identify with gender, sexual, and other minorities. They create mostly with 2D media. This includes paintings, drawings, and wood-burnings. Their experience of being Queer and Neurodivergent informs their art.
Charlie Champagne (They/Them)
Charlie Champagne is a local photographer, graphic designer, publisher and event producer based in Baton Rouge, La. They are a native of Coteau, La. and has been a resident of Baton Rouge since 2010. Champagne graduated from Louisiana State University’s Manship School of Mass Communications in 2015 with an undergraduate focus in Digital Advertising & Visual Communications. They are currently the Communications & Marketing Manager at Capital Area United Way, and acts as the Community Events & Digital Media Chair for Baton Rouge Pride. Charlie is passionate about photography & design, creative collaborations and community development.
“Layer by layer art strips life bare.”
- Robert Musil
Q+UMBO is a proud grantee of The Community Collaborative: By the Community, For The Community at The LSU Reilly Center for Media & Public Affairs cohort of 2023.
*Please note, this is a pilot workshop. It is our intention to facilitate more workshops in the future.
RENT at Theatre Baton Rouge
Theatre Baton Rouge presents, RENT, performances Nov. 10 - 19, 2023
“Five hundred twenty-five thousand, six hundred minutes
How do you measure, measure a year?”
Below you will find a collection of promotional photography captured of Theatre Baton Rouge’s primary leads for the upcoming production of RENT.
Art Direction, Bradley Sanchez
Photography, Charlie Champagne
Costume Curation, Abrielle DeCuir
Mark Cohen, played by Brady Lewis
“Why am I the witness?
and when I capture it on film,
will it mean that it’s the end,
and I’m alone..?” - Mark Cohen
Roger Davis, played by Brandon Smith
“Glory,
beyond the cheap colored lights.
One song,
before the sun sets.” - Roger Davis
Mimi Marquez, played by Diane Elizabeth
“There’s only us,
There’s only this,
Forget regret,
Or life is yours to miss.
No other road, no other way,
No day but TODAY.” - Mimi Marquez
Maureen Johnson, played by Victoria Clement
Joanne Jefferson, played by Juniper Cassaway
“Take me for what I am
Who I was meant to be
And if you give a damn
Take me, baby
Or leave me”
Tom Collins, played by Tadrian Taylor
“I think they meant it,
when they said you cant buy love.
Now I know you can rent it,
a new lease you are my love,
on life… be my life.” - Tom Collins
Angel Dumott Schunard, played by Dion Sideboard
“I've longed to discover
something as true as this is,
so with a thousand sweet kisses
I'll cover you.” - Angel Dumott Schunard
Benjamin “Benny” Coffin III, played by Nick White
“Rent!” - Benjamin “Benny” Coffin III
LSUMOA presents A Panel Discussion on the Queer Experience
LSUMOA presents a panel discussion on queer identity and social constructs on Friday, September 1, 2023 during the opening reception of their current LGBQIA+ exhibitions. Photography and Documentation by LSUMOA photographer, Charles Champagne.
On Friday, September 1, 2023, the LSU Museum of Art held a panel discussion during their FREE opening reception of their two newest ehibitions, “Reveal: Photographs by Jerry Siegel” and “The Shaping of Us: Queerness in Ceramics.” The panel discussion included dialogue about gender identity and social constructs by speakers: Heather Mae Erickson, Greg Williams, Jr., Danielle Simone Boutté, and facilitated by Shannon Walsh.
As a queer artist, especially someone who has been photographing and documenting exhibitions at LSUMOA for the past 5 years, it was reassuring to be a part of these two exhibitions. I litearlly cannot think of a time in my history with the museuem where the queer experience was given this much space. It was special to be able to come together and hold space to discuss our experiences as a marginalized community and to also celebrate the victories and things that keep us moving forward.
Thank you to the team at LSUMOA and thank you to the incredible panel for your experience and insight.
Please enjoy some photo highlights from Friday’s opening reception, and you can find the full gallery of photos below.
Grease Promo Shoot at Theatre Baton Rouge
Theatre Baton Rouge 2023 Production of Grease, promotional photography by Charles Champagne.
Theatre Baton Rouge hired me to capture some promotional images of their current cast for the 2023 production of Grease. Tickets are still on sale, so make sure to go out and support our local community of talented performers!
Please enjoy some of my favorite shots, and you can find the full gallery of images below.
Please enjoy the full gallery below
WHY PRIDE
Photodocumentation of the WHY PRIDE LGBTQIA+ arts exhibition presented by The Arts Council of Greater Baton Rouge inside the Shell Gallery located at the Cary Saurage Community Arts Center. Photos by Charles Champagne.
2023 Pride Month Exhibition presented by The Arts Council of Greator Baton Rouge, held inside the Shell Gallery located at the Cary Saurage Community Arts Center.
This Pride month, I sat down with Lundyn Herring, the Director of Visual Arts at the Arts Council of Greater Baton Rouge as well as the exhibitions participating artists to talk more about the recent LGBTQIA+ exhibition, WHY PRIDE.
Q : “Can you tell me a little bit about how this show came about?"
Lundyn : “Originally, my vision for the show was to partner with The Trevor Project, and get stories of victims of suicide, via their families, and use those stories in tandem with the artwork — stories of these people who have taken their lives due to all the existing prejudice, and with that, be juxtaposed next to all this beautiful art inspired by everyone’s identities. Unfortunately that original plan fell through, but then I met Alex about a month before this show was planned to go up, and I saw how amazing the bathroom sculpture was and knew that had to be included. Anna Lacy and Vincent have shown with us before, and it’s been amazing watching how they’ve grown as artists. So, it was great to have them involved again for this year’s Pride month show.”
“This exhibition kind of came into fruition as I began meeting more people and started immersing myself more in the Baton Rouge community. Even though I am a lesbian myself, I haven’t been a lesbian out in Baton Rouge in a very long time. It was nice to get back into the local queer scene, and meet a bunch of new people, especially all of the young queer people. It was very heartwarming. ”
Alex Jacobs (He/They)
Q : “Tell me more about your piece in the show.”
Alex : “This work was conducted in collaboration with my partner. I constructed it as a physical manifestation of their writing and experiences as a non-binary person navigating a straight cisgender world. As an outsider on the inside, I have the unique opportunity to physically manifest their writing and our shared experience in a physical space for others to inhabit.
Whether at work, school, the store, or on a road trip, using a public restroom is rarely a comfortable situation to find oneself in. This necessary part of life can be extremely awkward for anyone. However, for some people, using a public restroom can be terrifying. Throughout my life as a cisgender man I spent very little time thinking about using a public restroom. I have always tried to abide by the expected decorum of the men’s room, such as proceeding to the stall farthest from the door and always leaving a buffer zone at the urinals. However, I learned that this was not the case for my partner. “
Alex : “They have been receiving gender-affirming care for several years. Currently, they are at a point in their transition, where, on any given day, they could be viewed as either male or female. This can make what should be a simple task – using a public restroom – extremely hazardous to not only their mental health but also to their physical health.
To help alleviate some of the stress that they experience using public restrooms my partner and I have developed a routine for when we are out or on a road trip. When my partner states “I need to [go]”, I reply with “Are you going, or are we?” Their answer is often determined by where we are when nature calls.
“The installation aims to question the audience's perspective in a time of polarization to find a connection despite that which divides, by humanizing a community that is vilified by political leaders. To pose this question, I created a space in which the audience sees, feels, and hears an unfamiliar experience in a recognizable place.”
Q : Why do you believe this show is important?”
Alex : “WHY PRIDE creates a platform for the community that will hopefully humanize our stories and experiences. This show is a celebration of Pride. It is a promotion of self-affirmation, dignity, equality, and visibility. “
Q :“How important is it to you, to be able to not only make art, but to make art that reflects who you are as a person?”
“It is my belief that art is a means for self-expression. A way to communicate the ideas or beliefs one holds most dear. The creation of art is my chosen platform to speak to the world, and to the issues that I feel must be addressed in order to make the world a better place for everyone.”
Vincent Wright (He/They)
Q : Tell me more about your pieces in the show.
Vincent : “My work mainly focuses on growing up in the religious south of the United States as a queer person. I explore my identity and who I am in the context of growing up in a restricted hyper religious household.”
“As a trans individual, girlhood was something I found myself not quite fitting in, and boyhood was something that I longed for. I remember feeling a deep sense of shame for how I felt and jealousy for not being able to do the things my brother could. My paintings reflect the question, “What if I was born a boy?”. I explore what could’ve been, what was, and what is.”
“Repudiate (tranny) is an exploration of transitioning as a trans person. It consists of a series of self- portraits from childhood to adulthood layered on top of each other and held together by thread. The painting was created at the same time anti-trans laws were being passed (they still are) and when the trans body was becoming more of a political and moral debate.”
“There are significant gaps in my childhood memories, but I often remember not feeling real and not understanding myself or having the words to express my troubles. I am interested in the past and identities. They are both hard for me to fully understand or grasp. I paint figuratively with oils on repurposed canvas, children’s clothes, and transparent plastic sheets that I layer onto my paintings. I also used visible mending and stitches to hold it together. The end result resembles a puzzle—the stitching ties in with the idea of mending and creating something new from the past.
I am trying to fix something that has broken down over time and rediscover myself. In the end, my work is an exploration of gender, whether that be the past, present, or Future.”
Q : “Why do you believe this show is important?”
Vincent : “This show is important due to the political climate and the escalating LGBTQIA+ hate. Queer representation in the South can often become overlooked. This show also allows viewers to understand/ sympathize with queer identities.”
Q : “How does your practice play a role in your identity?”
Vincent : “I use painting to process my identity and create a world of hypotheticals. Painting self- portraits has allowed me to see myself from various perspectives. Utilizing stitching, old clothes, and images from childhood has allowed my work to become a reflective process. To be an artist, you must question the status quo and the rules that society has pushed on you. Being genderqueer is like the process of painting; it is an act of becoming.
Q : “How important is it to you, to be able to not only make art, but to make art that reflects who you are as a person?”
Vincent : “It is very important. It is what I put into the world and what others perceive me. I find it it is difficult to talk about my identity directly. Instead, my paintings are an outlet for my true identity. It is my goal that others will see themselves in my work.”
Q : “What do you hope people take away from this show?”
Vincent : I hope people will walk away with a more nuanced understanding of being queer and how it can be expressed. I believe that the audience would come out with a better understanding of queer struggles. I also hope they can relate to the pieces in the show and see the beauty in being queer.
Trash (Anna) Lacy (She/Her)
Q : “Why do you believe this show is important?”
Trash : “Shows like Why Pride are important because it gives a voice to artists who deal with the topic of sexuality in their work or whose sexuality has affected how they create work. It also shows lgbtq+ youth that their voice matters and that they aren’t alone in the world.”
Q : “How does your practice play a role in your identity?”
Trash : “I have been creating work that fits in the Magical Realism movement and has been helping me work through finding myself again. I like to make small sketches and then the pieces tell me how big or small they should be based on the sketch. I use photos of myself a lot and since I started doing that it has started helping me become more confident in what I wear and how I express myself.”
Q : “How important is it to you, to be able to not only make art, but to make art that reflects who you are as a person?”
Trash : “Being able to make work that reflects who I am as a person has helped me get back in touch with my inner child. They got hidden away years ago when I was focusing on hiding my sexuality from my family. This has helped me be able to work through a lot of my anxiety and depression and also helped me stop caring so much about what people think of me.”
Q : “What do you hope people take away from this show?”
Trash : “I hope they take away from this show that it’s OK to be gay and that when you hide that away you’re hiding yourself.”
Q : “Is there anything else you’d like to share?”
Trash : “Like my work there is more to it than just what’s on the surface. You have to look in the correct lighting to get the full story.”
Shiloh Langlois (They/Them)
Q : “Why do you believe this show is important?”
Shiloh : “I believe this show is important because it facilitates conversations between artists who identify as LGBTQIA+ and the community.
Shapes, colors, forms, and texture translate to viewers' thoughts, emotions, memories, etc. Personal projections about the way we view and experience the world are projected onto the art.
It opens up dialogue about how we experience the world similarly and differently. It allows us to look at intersections such as sexuality, gender, neurodivergence, race, culture, etc.”
Q : “How does your practice play a role in your identity?”
Shiloh : “My practice, as both an artist and art therapist, helps to define who I am. A saying by Picasso goes something like - I make art because I have to, not because I want to. I feel like it is a must for my survival.”
Q : “How important is it to you, to be able to not only make art, but to make art that reflects who you are as a person?”
Shiloh: “It is impossible for me to make art that does not reflect who I am. I really feel like my creativity is sporadic - almost like it's a being that resides inside of myself, rather than just a component of Shiloh. One of the reasons I didn't go to a formal art school is because of this inability to control exactly when it happens. It causes me extreme stress and anxiety to create when I do not feel the "flow." Art Therapy school is not the same as formal training in technique.”
Q : “What do you hope people take away from this show?”
Shiloh : “I hope that people take away whatever comes to them from the show. As an art therapist, I learn to accept that people find their own meanings, which can be intimate and very personal. I am less attached to the result, but being able to express my work publicly does feel relevant at this point in time.“
Julie Glass (She/Her)
The Inaugural Baton Rouge Pride Talent Show
a reflection of the First Inaugural Baton Rouge Pride Talent Show
On Saturday, June 03, Leur and Baton Rouge Pride hosted the Inaugural Baton Rouge Pride Talent Show at Theatre Baton Rouge as a way to celebrate the talents of the LGBTQIA+ community here in the capital city.
After a series of rehearsals, the small cast of LGBTQIA+ youth and young adults were selected:
(from left to right) Noelle Allison, Cade Allison, Victoria Simmons, Drew Vessel (host), Piper Ward, Syndle LeJeune, Brian Howell.
My intention with this event was to provide an opportunity for our local community of LGBTQIA+ storytellers, singer-songwriters, entertainers, and all performative artists of the like. I’d imagine performers of all ages coming together and sharing their stories through a series of various mediums of storytelling. After hosting our auditions on April 29, at Theatre Baton Rouge, most of our auditions consisted of LGBTQIA+ youth and young adults aged 13 -18.
WINNER - Brian Howell, 16
(He/His/They/Them)original poetry reading of "Picture a Body"
Brian was unexpected for me. I had my fingers crossed for a poet to show up, and Brian was our one and only poet for auditions. As someone who normally deals with poetry submissions via email, it was refreshing to hear Brian read about his trans experience. From his tempo to his descriptive imagery, the poem was a personal plea for understanding, respect, and survival. Here are some of the lyrics from Brian’s reading of his original piece, “Picture a Body”:
“In the beginning, I wanted your understanding. Now I just want your silence. When you ask me the first time, the second, third, forth, fifth, hell even the sixth time, I wanted you to understand - but there is only so much of myself that I can give to you before I run out. And I have given up on understanding.”
I give you the “pretty” definition. I give you the “sterile” traumas, the pushes and shoves. I give you my aorta in a blood-red corsage box. But, for once, i need you to see.”
“Picture a body, it is yours, but it is not. The hand that grabs the lump in his throat is made of chicken wire, and it reminds you of the day you flossed plaster off of a wired sculpture unable to face yourself in the mirror because you couldnt visualize living passed fifteen.”
The remainder of Brians poem goes on to talk about how no matter how many metaphors he can use to describe his experience for other people to understand, they truly will never know the dysphoria of being trans. He then goes on to dedicate his poem to his trans community acknowleding the troubles and tribulations they go through on a daily basis:
“I am reaching out to every trans person in the audience. Every trans person hearing this right now, every one of us who has had to explain the inexplicable to people, who depsite their intentions will never understand. I am reaching out to every trans person who has been told you are too angry, too hurt, too scared, too sad, too stuck on this - too much of anything - by people who have never had to rise and wrangle the half-ghost of a soul into the slip of an unyielding and unwanted body.”
Brian will be performing a reading of “Picture A Body” on Friday, June 16, 2023, during the Why Pride reception at the Arts Council of Greater Baton Rouge, from 5:30 p.m. - 7:30 p.m.
Victoria Simmons
(She/Her/They/Them)stand-up comedy performance
Our comedic performance of the night was performed by Victoria Simmons, a multi-talented artist here in Baton Rouge. Victoria has performed in several productions with Theatre Baton Rouge, such as A Christmas Carol, and she is also a craft artist in her spare time. She will be joining the list of local queer artists participating in The Queerative Market, A Southern Queer Arts Market, on Saturday, June 24, 2023 as part of the Baton Rouge Pride Festival. Make sure to come and check out Victoria’s LGBTQ+ wearable resin pieces including earrings, charms, and pins.
Syndle LeJeune, 13
(She/Her/They/Them)performance of an original song
Syndle was the youngest contestant in this year’s cast. She had written an original song about a girl falling in love with another girl, who ultimately ended up not choosing her in the end. For her young age, she showed a refreshing sense of maturity, as well as a passion for performing. Syndle also shared her experience of growing up and being adopted by her father who is a trans man, and how that experience has shaped her own journey of self-expression and acceptance.
Her father, Kennedy LeJeune, learned about the talent show after connecting with Baton Rouge Pride and tabling during our recent Spring fundraising event, Call Me Crawdaddy: A Community Crawfish Boil & Social. This is an excellent example of how these small family-centered events can allow more opportunities for our local LGBTQIA+ families in Baton Rouge to be involved.
Piper Ward, 16
(She/Hers)performance of "Waving Through A Window" from Dear Evan Hansen
Since her audition, Piper has shown the most growth in her confidence and in her overall delivery. From laughing at herself during rehearsals, to improving her overall showmanship for the final performance. She was a delight to listen to during her cover of Waving Through A Window. During her interview portion, Piper talked about how she could relate to feeling isolated as an outsider who is still figuring out their identity, and why she chose that particular song for the pride focused talent show.
Noelle Allison (She/Her) & Cade Allison, 18 (They/Them)
performance of "Fragile Things" from Centaur World
Noelle & Cade were our final duo of auditions, and within five seconds of listening to their family dynamic, I knew they were something special. Cade began sharing how they came to the realization of them being non-binary during the pandemic, and Allison shared how nonchalant Cade was in their delivery of, “ Hey mom, I asked a girl out and she said yes…”
“That’s exactly how casual I imagined that ever being if any of my kids were to come to me about their sexuality.” Noelle shared. It was comforting hearing the story of how loving and accepting a mother can be for their queer and questioning children. Noelle also shared with us, how she learned more about herself thanks to Cade and their discovery of themselves. “Now, I feel that we have more language today to help us navigate our identities and become more aware of how special we all are.”
For their performance, they covered the song “Fragile Things” from the Netflix animated show Centaurworld. The song was about the contrasts between a controlling and smothering “mother-like” character and the rebellious and independent character who believes that “only you can take care of you”. The dynamics of learning how to balance taking care of others, as well as taking care of yourself.
Basically, how to foster inner strength and confidence in those you care for, while still supporting them in their self-confidence and autonomy. It was such a special song to hear between a mother and their queer child. It made me think about how many parents of queer kids worry about their child’s safety, but also understand that their children will have their own strength and confidence in navigating the world.
Thank you to Theatre Baton Rouge for partnering with us to produce this successful fundraising event for Baton Rouge Pride. We look forward to making this event even bigger next year!
PHOTOS: The Boys In The Band at Theatre Baton Rouge
On Monday, January 16, 2023 I was invited to photograph dress rehearsals for Theatre Baton Rouge’s production of Boys In The Band.
After photographing the boys in their black turtle-necks weeks prior, I was ecstatic to finally be photographing them in the performance studio.
Getting a chance to see them bring these characters to life was something I was much anticipating. I wasn’t familiar with the actual stories associated with The Boys in The Band, nor had I read the original play, or even watched the modern revival.
The themes explored in this production ranged from racism to homophobia, especially internalized-homophobia, as well as taking a look at the, sometimes complicated, social dynamics between queer men, and the unique relationships they can have with one another.
The themes in this production are still very much relevant to modern-day society. Still to this day, in 2023, there are countless queer people forcing themselves into the heteronormative lifestyle because they feel that its the only option they have due to fear of criticism and shame. Some have suppressed their queerness so deep, that the only remnants of it that remain are in the forms of anger, guilt, and shame.
Personally, I think that this production shows 100% of what social dynamics among queer men are like. A diverse coalition of individual traumas all sharing the simplest and subtlest similarities.
It’s comforting to see the love of chosen family in action, but that also means witnessing one another’s traumas, addictions, co-dependencies, darkness, and yet still doing your best to love them, even when things get ugly, confusing, and unbearable.
Society already scrutinizes queer people, so why do we, as fellow queer people, continue to allow it to happen in our own spaces? Is it because majority of us hold on to so much anger, resentment, jealousy, fear?? — doing what was done upon us — only repeating the cycle.
If we could use our strengths to create more opportunities for one another to share our stories, to express what holds us down from being 100% ourselves, I think we can continue down the path of finding healthier solutions to helping one another take steps toward a more self-fulfilling future.
Entities: A Field of Imaginary Games by Thrasyvoulos Kalaitizidis
LSU Art & Design MFA Thesis Exhibition by Thrasyvoulos Kalaitizidis
Candice Lin - The Agnotology of Tigers
The following images are photodocumentations taken by Charles Champagne for the LSU Museum of Art. LSU MOA presents Candice Lin: The Agnotology of Tigers from October 20, 2021 through March 20, 2022. This exhibition is part of an annual collaboration featuring an LSU School of Art visiting artist.
Candice Lin: The Agnotology of Tigers features recent works based on archival images from LSU, alongside a new configuration of Lin’s tobacco version of La Charada China.
Lin’s installation illuminates sublimated histories of social violence and a politics of forgetting that obscures the history of indentured Chinese labor and its dehumanizing effects still manifest in global policies and lingering stereotypes. Lin’s most recent works explore how these processes intersect with LSU football’s “Chinese-bandits” and cheerleaders who dressed as “coolie” laborers.
The installation derives from a syncretic, divination-type gambling game practiced in the Caribbean primarily by Chinese laborers. In Lin's hands, she speculates that this game could have functioned within the community as a way to redistribute wealth.
ABOUT THE ARTIST Candice Lin works primarily in sculpture and installation. Born in Concord, MA, Lin now lives and works in Los Angeles where she serves as Assistant Professor of Art at UCLA. Lin is also a Prospect.5 artist: work featured as part of Prospect.5 will further explore her research into Louisiana’s history of indentured Chinese labor.
The porcelain sculpture was created on site with LSU School of Art students Kyra Jackson, Matt Jones, Nickeyia Johnson, Cecelia Moseley, Gillian Harper, Lu Colby, Paul Acevedo Gomez, Thras Kalaitzidis, and Ali Saunders during Candice Lin’s visiting artist workshop. This sculpture will be eroded over time by the distillation system of La Charada China (Tobacco Version).
A distillation system drips a tincture of tobacco, tea, sugar, and poppy onto an unfired porcelain sculpture. This tincture of valuable colonial commodities speaks to the intertwined histories of plants and humans both within plantation economies and herbal medicine. As it drips, it erodes the unfired porcelain—metaphorically dismantling the presumed associations of whiteness with purity, superiority, and hardness. In this exhibition, Lin will work with students at LSU to create the porcelain sculpture that will later be destroyed in the liquid process.
This exhibition is a collaboration between the LSU College of Art & Design, the LSU School of Art, and the LSU Museum of Art. Support is provided by The Winifred and Kevin P. Reilly Jr. Fund and generous donors to the Annual Exhibition Fund.
Supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, in cooperation with the Louisiana State Arts Council, as administered by the Arts Council of Greater Baton Rouge. Funding has also been provided by the National Endowment of the Arts.
LSU MOA thanks the generous donors to the LSU MOA Annual Exhibition Fund: Louisiana CAT; The Imo N. Brown Memorial Fund in memory of Heidel Brown and Mary Ann Brown; The Alma Lee, H.N. and Cary Saurage Fund; Robert and Linda Bowsher; LSU College of Art + Design; Mr. and Mrs. Sanford A. Arst; and The Newton B. Thomas Family/Newtron Group Fund.
“Body/Mind:Matter” by Mary Ratcliff
LSU College of Art & Design MFA Thesis Exhibition Series
I was recently asked to photograph the installations of two LSU MFA students, Mary Ratcliff & Stephanie Cobb. Here are the images from “Body/Mind:Matter”, by Mary Ratcliff.
Artist Statement:
“to find solutions, we will need to reimagine our place in nature, our responsibilities as members of communities, and the meaning of a good life–which is to say, “we will require a shift in consciousness as radical as any mutation in our evolutionary history.”
- Scott Russell Sanders
Body/Mind:Matter presents the unfiltered experiences of living in a period of momentous instability. Three life-sized figurative sculptures stage my emotional journey towards mindfulness as a direct response to the pandemic and my growing concern for our future. A winding network of crocheted yarns and growing vines interweave the troubled figures to signify our complex dependenceis upon one another and the world around us.
The condition of the disabled bodies is a result of the worried mind. In each figure, a source of matter is imagined as means of reconciliation. Decaying surfaces reveal new life; intricately fused wires uphold under immense pressure; soft woven fibers form a protective web. The paradoxical relationships that are formed indicate a pursuit of healing and seeking balance.
“Fun House” by Stephanie Cobb
LSU College of Art & Design MFA Thesis Exhibition Series
I was recently asked to photograph the installations of two LSU MFA students, Mary Ratcliff & Stephanie Cobb. Here are the images from “Fun House”, by Stephanie Cobb.
Artist Statement:
The expression “fun house” seems empathetic and joyful, but has potentially melancholy connotations. Fun houses are participatory. They allow guests to move freely through their colorful halls. At the same time, they do not organize guest’s experiences. Usually, we are thoughtful of all possible contingencies that make the world so unpredictable. We prefer certaintly to doubt and try to avoid risks. However, reason and order have limits. To feel alive, we must take risks. The connotation of the paintings in Fun House may imply either a sunny mood through tenderness between figures or a tense ambivalence that lingers in their expression. This hazy territory separating certainty and improbability gives room for an artist to construct ambiguity into narrative.
The paintings in Fun House function as representations of figures in personal and domestic environments. They are private moments made public and the subjects are closely tied to personal experiences. Only closeness between artist and model allows for intimacy in a portrait. The hope is to evoke with clarity our closeness, or our distance.
You can contact Stephanie Cobb by:
website: www.stephaniecobbart.com
email: stephaniecobbart@gmail.com
instagram: @stephmcobb
The Day The World Became Glass
On Febrary 15, 2021 freezing temperatures collided with heavy precipitation in the Greater Baton Rouge area transforming the everyday Louisiana landscape into a botanical oasis frozen in time.
The following photographs were taken around the Spanish Town neighborhood in Baton Rouge, La. by Charles Champagne. 
Traverse City, MI
a collection of photographs taken during my visit to Traverse City, Michigan.
see something you like?
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A Stroll Through Spanish Town
With the unruly timing of both mechanical failures and the current COVID-19 pandemic, I was without a camera for almost 5 months. Now that I finally have it back, I decided to take it for a walk downtown and through Spanish Town.
