The Beauty of Others: An Interview with Photographer Teresa Bracamonte

View the interview in Spanish on Revista Jennifer

When I traveled to Lima for the PARC art fair, I met interesting artists and explored key sites of Peru’s contemporary art world. I visited galleries like RevolverLucia de la Puente and Y Gallery Lima, as well as institutions like Proyecto AMIL.

A project I discovered that interested me in particular was Lima Intrarrosa, a documentary photography series created by artist Teresa Bracamonte.

Before becoming a photographer Bracamonte was a painter, but her main career was as a high fashion model who also participant in numerous beauty pageants. During breakfast at her oceanside Barranco apartment, she told me that, one day a few years prior, she was watching TV and by chance saw a report of a transgender beauty pageant being broadcast. Upon seeing it, she had a strong, unexpected reaction of connectedness to the trans women: she saw herself reflected in them.


Drawn in by this experience, she embarked on a two-year-long documentary project during which she lived within the trans community in Lima. Instead of viewing the women through the lens as if they were from one world and she another, she became a member of their community and a part of the intimate family of the trans beauty pageant participants. Through this devoted technique she established her relationship with the subjects of her imagery.

Bracamonte’s work interested me because her choice to radically change her lifestyle from modeling for the sake of this first-time documentation of a different yet parallel world to hers is something I viewed as unusual and remarkable. Her work also interested me because as a novice to the medium, she dedicated herself fully to exposing a sensitive otherness with a high degree of respect in both her process and the result, instead of hastily approaching the theme in a voyeuristic manner.

In the following interview, Bracamonte sits down with Artifactoid to discuss her inspiration for the project, insights she learned in the process, and future projects she has in store.


Artifactoid: How did the project Lima Intrarrosa begin?

Teresa Bracamonte (TB): What initiated the project Lima Intrarrosa in 2012 was my discovery of the existence of the beauty pageants that were organized by the transgender community. This strongly called my attention because at that time I was dedicated to high fashion modeling, and had been called to participate in the Miss Perú pageant and other feminine beauty events.


I discovered these (transgender) competitions on a television report, where a journalist was interviewing the winner of that night’s contest, who later went on to show the conditions in which she was living and they were extremely humble.

Artifactoid: How did you see your own experiences within those of the people you documented?

TB: Lima Intrarrosa covers diverse aspects of the transgender community in Lima. I think that one aspect I most identified with were the beauty pageants. When I photographed all that was happening during the show, and backstage, there was the same euphoria that I experienced in backstages of fashion shows, just before heading out to walk on the runway. At that time my main source of income was coming from high fashion runway shows.


I believe that an artist always sees herself reflected, in one way or another, in that which she chooses to create a portrait of. Many times it is something unconscious; that the artist feels attracted toward a certain reality without being certain of why.

In my case, at the start, it was the beauty pageants and everything that they implied (the production of beautification, performance, etc). Later it became something deeper; I felt identified with the search for self-affirmation and the fight for being who you deeply want to be.


I am a fan of Pedro Almódovar, and in is film “Todo sobre mi madre” (“All About my Mother”), there is a line spoken by the character Agrado, played by Antonia San Juan, that goes, “The more one resembles what she has dreamt of herself, the more authentic she is.”

There is also an element of rebellion: during a time in my life, I questioned a lot about the culturally established binary roles. I wasn’t fully understanding them; they made me feel uncomfortable. It bothered me – the idea of having to comply with certain expectations or attitudes just because I was a woman. I felt that men had certain “permissions” that women didn’t have, and that I wanted to have those permissions, too. This made me question my own feminine role.

Artifactoid: What were the most important things you learned living within Lima’s trans community?

TB: The most important thing I learned while living for two years with the transgender community in Lima, was the survival system that they had developed to be able to move forward in their daily lives. One aspect that interested me deeply was the recreation of family ties: the majority, upon suffering exclusion from their nuclear families, constructed a new family amongst themselves. The links that they create are even stronger than blood. Another interesting characteristic is the resilience and the will to be. That force to dare to exteriorize who they feel that they are, despite prejudgements and exclusion (above all in a male chauvinist country like Peru), is what I admire in all of the transgender people. There is also the sad side, which is the reality that they face each day, of exclusion and extreme violence. Life expectancy is low, and access to basic rights is null.


Artifactoid: How does this project fit within your body of artistic work as a whole?

TB: Lima Intrarrosa was my first photographic project. I produced it over the course of 2012 and 2013. It marked the beginning of my trajectory as a photographer. Before that I generally used painting as my mode of expression. It was also the beginning of my line of work: I search to make visible groups of people and themes that our society hides, negates, disguises or masks. All of my projects can be viewed on my website. My starting point, as a visual artist, is to search for the beauty in what is considered grotesque, unacceptable or unchaste, and show it through images. My inspiration lies in awakening sensations through themes that we tend to reject or that make us feel uncomfortable.

All of my work revolves around this duality – the contrasts – of both concepts: the horrendous, and the beautiful, and the multifarious shades of each. I am on a constant search to provoke the spectator, and induce her to observe and question herself, but above all to submerge herself into realities that she might consider foreign to her.


Through my work I constantly take on the challenge to overthrow prejudices, ideas, and stereotypes that we have deeply rooted.

Artifactoid: Are you aware of other artists in Peru working with the theme of transgender life, like Giuseppe Campuzano? Were you influenced by them, and how?

TB: When I was developing Lima Intrarrosa, in 2012, the only Peruvian artist I knew at that time, and whose work affected me, was Giuseppe Campuzano. I met with him when I was beginning the project. I remember that I bought his book, El Museo Travesti del Perú. He advised me to visit the exhibition that he carried out at the gallery 80m2 Livia Benavides that year, where he created an installation based on newspaper cutouts that showed, over the longterm, how the media were treating the trans community in a denigrating and scandalous way.


Artifactoid: Tell me about the idea of “double perception,” related to trans women who migrate from Peru to Europe. Why is it important to reveal this concept in your photography?

TB: One aspect that called my attention upon creating Lima Intrarrosa, was the desire of almost all of the women in the transgender community to migrate to Europe. Those who achieve this are called triunfadoras (“winners”).

Apparently, the triunfadoras experience a complex situation once they live in Europe. The term “winner” becomes contradictory, and we find ourselves facing a paradox between the concept of what it means to be a triunfadora, connected with the idea of success and the positive, versus the difficult reality that the triunfadoras live once they arrive in Europe. At the same time, the population that surrounds them abroad doesn’t know what it means to be a Latin American transgender woman migrant in Europe, and above all they don’t know that that they left their country perceived as winners.


Therefore exists the “double perception:” they are two imaginaries of the same existence that are culturally opposite and contradict each other. Roland Barthes stated that, “The photo portrait is a palisade of forces.  The imaginaries intersect, face each other, and deform.” I view this theory in relationship to the triunfadoras.

I presently live in Paris, where I am producing a photographic project comprised of portraits of transgender women migrants from Peru, and/or South Americans who live in the French capital.

It’s not a “documentary” project, as I seek to translate my subjective point of view about beauty onto it. I am doing this to show the protagonists of my series as impregnable and glorious, in a manner contrary to how they are generally represented.



Artifactoid: How did you arrive at your fascination for the objects of the people you documented, and why were they an important area of focus for this project?

TB: I realized that, through objects, I could show important aspects of the person I was developing a portrait of. I discovered that personal items give us information that is not evident when we only focus on the person. These things can communicate as much, or even more, than the physical body in and of  itself. I believe that a portrait can be made through objects alone.



Artifactoid: Do you plan to explore working with the masculine transgender community in Peru?

TB: For now it doesn’t form a part of my plans, since I am developing other projects, but it seems interesting to me. I may explore it in another moment; an artist should always be open to different and diverse possibilities.

Artifactoid: What are some of your goals for this project?

TB: I have finished a photographic book of Lima Intrarrosa, curated by Jorge Villacorta, including some testimonials and reviews. My goal is to publish it in the near future, and I am currently seeking support to do that. The book can be viewed here


Artifactoid: What do you plan to do next?

TB: Currently as mentioned I live in Paris. I came to do a Masters in Photography and Contemporary art at the University of Paris 8. I am developing artistic projects within my line of work, questioning stereotypes, and using codes of representation that interest me about certain themes and distorting them through art.


About the artist:

Teresa Bracamonte is a visual artist who was born in Lima, Peru, in 1989. She completed two years of General Art Studies at the Pontifical Catholic University of Peru. She finished her studies of Plastic Arts in the Alternating Current School, where she graduated. She obtained the title of Complementary Baccalaureate in Arts at the National University of San Marcos. Then she studied Photography at the Center of the Image, where she obtained the first prize of her group.

Teresa, at age 25, had her first solo show curated by Jorge Villacorta at the II Lima Photography Biennial: Lima Intrarrosa. Her second individual show was in the city of Trujillo (2016). Bracamonte has participated in several group exhibitions in different places of his country, such as Ricardo Palma Cultural Center; The Museum of the Nation; The Inka Garcilazo Cultural Center; Gallery of the French Alliance, Euroidiomas Foundation, Cultural Center of the University of Lima, among others. She has also had the opportunity to exhibit twice in Dubai, in 2016.

She currently resides in Paris, France, where she is studying a Masters of Photography and Contemporary Art at Paris 8, La Sorbonne.


Interview with Theresa Byrnes, Painter and Performance Artist

Australian-born and New York-based Painter and Performance Artist Theresa Byrnes talks with Artifactoid about inspiration, a return to her roots as a painter, and her most recent performance, “Mudbird,” created in collaboration with her 20-month-old son. 

Artifactoid: How did you get started as an artist?

TB: At age 16 in 1985, my studio was the family lounge and dining area. I would start to paint every night after dinner while everyone watched TV.  By the time everyone went off to bed one by one, I would get more and more on a roll. I would paint through the night. Soon I outgrew the family room, no longer able to pack all my canvases neatly every night without disrupting my process or running the risk of wet work being trodden on when the the family awoke. I scoured the classifieds to find a studio. I found part of a warehouse to rent cheaply, so I did. 29 years ago, at age 17 in 1986, I began to paint full-time in my very own studio!

I had already been included in minor group shows from 14 years of age and on. While in high school I did life drawing classes at night, and some of my drawings were selected for a group show. I went out on a limb and contacted a curator who included my work in a rotating VIP lounge, and my work began to sell. My first solo exhibition was at 17, but I consider being an artist about making art more than about exhibiting or selling it.


Mistakes in painting are like an angel pushed your hand, changing your direction to somewhere you never would have gone

Artifactoid: Who are your biggest influences in performance art and why? Who inspires you?

TB: I did my first performance when I was 19 in 1989 in Sydney Australia’s Chinatown. The piece, titled “China Crisis,” was my response to the Tiananmen Square Massacre. My entrance into doing performance art was not inspired by an artist, but by heroic dissent. The cry out for freedom and justice inspires me. In “China Crisis,” I laid in front of a large red painting. For me, performance is a natural spill-over from painting: paint is my language, I just commit my body to performance. “TRACE” (2007) was inspired by a dying bird in an oil spill. In “DUST TO DUST” (2011), dirt was my inspiration – the transformative power of mulch.


In 2002, I met Carolee Schneemann; we read each other’s books (mine The Divine Mistake, her’s More Than Meat Joy). I learned a lot about her work, and felt connected to her even more once I learned that she is also a painter whose performance flows from that.


Artifactoid: What are some of your biggest day-to-day influences as an artist?

TB: Stains on the sidewalks, streaks with random marks on windows – I made a short  film about sidewalk markings titled, CARELESS in 2000. Tunde Adebimpe (TV on the Radio) helped me shoot and edit it (he is now my son’s godfather). It was screened at MONA (Detroit) in 2001.

Old, decaying wood also inspires me, I have done several painting series on aged wood 2001 and 2010. When I paint on aging wood, I feel like I am collaborating with nature, not trying to capture it.

IHateRosesandtheSeaAteMe copy

Artifactoid: How has your perspective as an artist changed over time?

TB: That nothing is permanent. Earlier in my career, well, pre-September 11th, I cared greatly about paintings lasting forever. Now I feel “archival” materials are pitched to artists who believe this civilization will survive another 500-1000 years. I am into showing who we are now, because now is real: all we have, vulnerable, avoided, denied, unnoticed. Art materials are everywhere; they’re not limited to an art store. I love to work with mud and hair and other ingredients as well as ink and oil paint.

Artifactoid: What are some of the most important lessons you’ve learned through your art?

TB: That nothing is a mistake. Mistakes in painting are like an angel pushed your hand, changing your direction to somewhere you never would have gone. In my entire 30-year career, painting still genuinely astounds me – the unguessable moment it resolves.

Artifactoid: What is the best advice you’ve ever received in your career?

TB: Be humble.

Artifactoid: In what direction would you like to take your art moving forward?

TB: I am at a turning point. I am returning to my roots as a painter, where I first discovered my talent and lost my identity/sense of separation from art in the process: painting portraits. For the next two years, I will only paint portraits. Abstraction and performance art lent to my feeling immortal, but now, I am a mother and I feel human, more grounded and more vulnerable than ever. I am pulled to dive in in this direction.


Artifactoid: What advice would you give to other artists?

TB: Know when to stop. As long as you are making art, “you’ve made it.”

Artifactoid: Please describe your inspiration behind “Mudbird,” and some of the most important things about the piece (to you).

TB: “Mudbird” is the second performance I have done with my son, Sparrow, (now 20 months old). In “Mudbird” I play with my baby in the mud thinking of the cycle of all beings – to live and die. We come from the earth and end up in it. Mud; earth, is a uniting and dividing force between mother and child. I gave my life for his to begin. Okay, I am not dead yet, but a part of me has died – my life as a single artist.

MudbirdRainerHosch copy

At the time of performance, I felt a sense of my immanent death. I have Friedrich’s Ataxia (FA). It is a chronic and fatal genetic disorder of the nervous system. I have been wheelchair-mobile for 20 years. My voice slurring, mundane things slowly getting harder, and recently I tore my right rotator cuff. I have never felt disabled, as I have always fulfilled my aims and called the shots, but post-birth and with injury, I felt unusualły hopeless. Sure I cannot walk, but now I can’t fly; wings clipped. Much of the “Mudbird” series is about my burial and Sparrow’s flight. It has been a burial of several parts of myself. And now I again recreate myself, or return to who I am.


Theresa Byrnes has had over 25 solo shows at spaces including Saatchi & Saatchi in New York and Sydney, and the Australian Embassy in Washington D.C. In 1996, she was awarded Young Australian of the Year. To keep up with Theresa and her latest works, visit her website and follow her on Instagram, Twitter and FacebookStop by her gallery space, TBG (616 East 9th street between Avenues B&C), for her next opening on December 9th, 2015 .