The Metaphorical House

Featuring Kobe Wagstaff Words by Nastasia Khmelnitski

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Kobe Wagstaff is a photographer originally from Salt Lake City, Utah, The United States. In this interview, we speak with Kobe about how origins define the narrative and the quest for self-identification. Coming from Christian culture adds to the undertones of Kobe’s exploration of his subjects, their identity through profound encounters with their true selves, trying to get rid of the labels society puts on them, or the unconscious affect the surroundings have on them. The fight is against stereotypes and queerphobia with a clear goal to bring wider acceptance, understanding, and acknowledgment of marginalized communities.

The unique prism of Kobe’s lens comes through the authentic interest in the person in front of the camera, the desire to learn about them, and the empathy toward their story while creating a narrative. We see it through delicate but powerful portraits, the exploration of the frame that enables the character to fully unfold, and the questions raised in the viewer’s mind. The aspiration is to be seen and let the subjects be seen, their voice heard, and their uniqueness discovered. 

The story Kobe tells has a high intent and is of love, of empowering the queer community, of compassion. We discuss Kobe’s experience as a stylist and the deeper meaning of the creation of the character through the layers of adding a ‘costume’ to emphasize certain elements needed for the shoot. As Kobe explains, “We dress and manipulate our vessels in hopes of appealing to a demographic. For me, having this impression, I found that I compartmentalized my vessel and the soul that is housed in this vessel.” Kobe's photography is complex and enables the person in front of him to become empowered. 

‘I think my origin in Utah plays heavily into the subconscious of my practice. The dense Christian culture juxtaposed with the immersive native land continues to be the foundation of the metaphorical house I am building.’

My Story

Hi Kobe, it’s so nice to meet you! I want to start with the subject of the immediate surroundings and the connection to your practice. Originally, you are from Salt Lake City, Utah, but you also worked from other locations, such as California. How do origin and the environment affect one’s aesthetics and photographic style?

Lovely to meet you! Thank you for the space to expand on the work. I think my origin in Utah plays heavily into the subconscious of my practice. The dense Christian culture juxtaposed with the immersive native land continues to be the foundation of the metaphorical house I am building. I believe that when you are so wrapped in religion at a young age, especially in your formative years, like I was, it robs you of your innocence and curiosity. I find myself reflecting on the innocence that I would have had during that time and expanding on the part of myself that never felt could ask questions through the imagery I create today. My work aesthetically relies on harmonious colour and the subjects not being minimized by their surroundings. I find these elements are a mirroring of that want and desire to be seen while also incorporating a cosmicity within the deep-saturated primaries. 

‘I have never believed in the sentiment that 'the way you dress says a lot about you.' What bullshit. Styling has and always will be a costume.’

Styling

What I find very interesting is that when you started your career, you chose to develop in the spheres of photography and styling. Could you tell more about your interest in styling and fashion and how this has been changing with time? 

I have never believed in the sentiment that 'the way you dress says a lot about you.' What bullshit. Styling has and always will be a costume. No hiding that I am a quote-on-quote 'theatre kid' and so I spent all my childhood on the stage and in costume. There is a power in this role play, and if you really think deeply about it, we are all so 'method' with the lives we lead. We dress and manipulate our vessels in hopes of appealing to a demographic. For me, having this impression, I found that I compartmentalized my vessel and the soul that is housed in this vessel. I progressively started out with styling as just a complete creation of characters, and eventually, it has evolved into aspiration. Aspiration, for me to build a visual of something that can tap into a deeper instinct. Even though the way something looks and the way something feels are two separate entities. I am now finding pleasure in trying to make the two connect.

‘Art lives in the gray, while speech is housed in black and white.’

Queer Community

Let’s speak about one of the most prominent subjects in your work, which has to do with representation of queer community. While the focus is to enable a variety of voices, there’s also an emphasis on fighting stereotypes. In what way do you think art helps fight stereotypes, and what are the challenges that still need to be addressed? 

I think art helps fight stereotypes by saying all the things that need to be said in a singular vision while also opening up room for conversation and interpretation. Art lives in the gray, while speech is housed in black and white. When dealing with topics especially focused on marginalization and one's insular community, it's impossible to vocalize that weight. Creating art surrounding your intent transcends the conversation. There are many challenges that need to be addressed within making art and the conversation of fighting against stereotypes. If I were to generalize this weight, it is my own community's internalized queerphobia and the heteronormative lens that projects onto our spaces.

‘My process when actively photographing comes from a place of compassion, empathy, and awareness when dealing with my subjects.’

Faces That Drive Inspiration 

You are working with a queer community, raising awareness about gay and trans people, and meeting individuals who inspire with their life stories. And then, there is a unique way of photographing women through your perspective, for example, the image of Solange and not only. How do you engage with the subject on set to capture their authenticity while bringing your aesthetics and perspective to the frame? 

My process when actively photographing comes from a place of compassion, empathy, and awareness when dealing with my subjects. Simply put, it's prioritizing their needs. Once you have developed your visual footing, you are able to instinctively go off that given any circumstance. You have been asked to share space for a reason. Share the space.

‘In terms of themes, I am exploring more concepts of innocence and traditional domesticity and what that can look like in a queer lens.’

A Sneak Peek 

What project/s are you currently working on, and what should we expect next in terms of themes you’re developing? 

Currently, I am working on a few exhibitions that have been in the works and finding them a home. Where? I don't know yet. In terms of themes, I am exploring more concepts of innocence and traditional domesticity and what that can look like in a queer lens.