Lissa Rivera, Blue Room
Blue Room
Lissa Rivera, Green Peignoir
Green Peignoir
Lissa Rivera, Emerald Living Room
Emerald Living Room
Lissa Rivera, Beautiful Boy, Pink Bedroom (for Priscilla)
Pink Bedroom (for Priscilla)
Lissa Rivera, Aloha Motel, Palm Springs
Aloha Motel, Palm Springs
Lissa Rivera, Bedroom with Perfect Outfit, Joshua Tree (My Boyfriend's Back)
Bedroom with Perfect Outfit, Joshua Tree (My Boyfriend’s Back)
Lissa Rivera, Arrangement with Pottery (Born Too Late)
Arrangement with Pottery (Born Too Late)
Lissa Rivera, Yellow Corsage (Dream Lover)
Yellow Corsage (Dream Lover)
Lissa Rivera, Reclining in Chiffon (All Cried Out)
Reclining in Chiffon (All Cried Out)
Lissa Rivera, Ritual with Heat Lamp (You Don't Have to Say You Love Me)
Ritual with Heat Lamp (You Don’t Have to Say You Love Me)

Lissa Rivera writes: “‘Beautiful Boy’ is an ongoing series of photographs of my lover. It began as a confession between friends. On the subway one evening, my friend shared that he had worn women’s clothing almost exclusively in college, but after graduation struggled to navigate a world that seemed both newly accepting and yet inherently reviling of male displays of femininity. I thought that photography could provide a space to experiment outside of isolation. Taking the first pictures was an emotional experience, and I connected to his vulnerability. Over time he became my muse and eventually my romantic partner. Soon we began taking photos like addicts, setting up several shoots every weekend.

“When taking the photos, I feel the same as when viewing a film where a director and actress share a deep connection to the fantasy captured. It is thrilling to see my partner transform into countless goddess-like forms. The project is a canvas to project our desires. At times the images even become self-portraits. The camera transposes our private experiences into public expression.

“Often, I construct sets in my studio. Other times, I seek out locations that feel as if they are sets. I spend a lot of time conceptualizing the costumes, which I piece together from thrift shops, Ebay, and discount fabric outlets. I think it is important that the images not be seamless, but more like an assemblage where you can see the glue, revealing contemporary identity as a collage of the visual language of the past. Although I art-direct the images and come to each shoot with a strong aesthetic intention, my partner inhabits each costume and set in a thoughtful way, embodying the scenario with a sense of openness.

“It is important to show his femininity as strength. I want to feel empowered as well, and to have an intimate muse. Together we investigate feminine fantasies presented throughout the history of photography and cinema. The project is a way to ‘step-inside’ images that we have found alluring and examine what it is like to live each scenario out. We explore both our captivation and our ambivalence towards these depictions of femininity. By presenting my partner within the lineage of great beauties and populating the media with our images, we are reclaiming our voice in what is attractive and beautiful.”

Work by Lissa Rivera

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