WRONG KIND OF FAT (2019)
‘A queer Jenny Holzer’, artist Henrietta Simson
‘We want to make people think and Lee’s films do just that. He provides a unique perspective and even though his films aren’t explicit, they make you think about the body and about queer sexuality and about how society manipulates our perspective on both. Most of our customers are students and academics who want to learn more about the body, sexuality and society. We also have people who have never thought about different methods of sexual expression. We provide them with different depictions of the body and sexuality, both for education and artistic enjoyment. And Lee does it in such an artistic way!’ Arthouse Vienna
'We loved the themes running through your poem touching on masculinity and the self-discovery of sexuality.. We loved the pieces when we viewed them and their ability to tackle issues faced in the gay community. We feel that many of our readers will find these works relatable and hopefully, this can open up a dialogue to challenge body shaming and other issues in our community.’ Queerlings
As Deborah Findlater has suggested, ‘For many marginalised people, the gaze comes with a set of difficulties and issues. Bodies judged, watched, surveilled and projected on.’ Employing protest art, chanting within ACT UP and queer movements, of political campaign, and visual techniques used throughout Marlon Riggs' VOICES UNITED (1989), WRONG KIND OF FAT features me with a hypnotic soundtrack of me repeating queer male archetypes against these words written over my torso and face. Words making a barrier over my face. Literally, ‘in my face’. By identity labelling and stereotyping, the gay male subculture can be very elitist and ends up reproducing the violence that it claims to be escaping.
WRONG KIND OF FAT explores the idea of being codified by a set of occularcentric taxonomic principles that are meant to determine who you are as a person and how you function in a relationship. It reflects on the kinds of role gay men are expected to conform to, where identity becomes something detached or external and how you can fit into that. What function does stereotyping or strict boundaries to certain kinds of labels serve? Maybe it’s about being seen. If I can say that I am ‘this’ very definite thing. I can be seen through this kind of role whereas otherwise … We always think there’s a certain kind of playfulness with these roles, but its boundaries are policed so rigidly.
The gay male community is even more controlling about what you should look like and how you should behave - why is that community stereotyping themselves? A niched community that is then even more niched. I am highlighting society’s control on body shape - but not society as a whole, I am using language from a specific subculture - a subculture which is very anti being controlled then controls itself in a very nasty way. This very inclusive environment which is very coercive of itself and quite damaging.
WRONG KIND OF FAT uses gay slang ‘bear, cub, wolf etc.’ and addresses power relations in queer subcultures and particularly within queer male spaces of conviviality which engage in processes of inclusion and exclusion. It employs protest art, of modes of representation, chanting within ACT UP and queer movements, of political campaign. The speaking mouth shot throughout the film draws inspiration from visual techniques used throughout Marlon Riggs' VOICES UNITED (1989) a documentary about the struggles for social acceptance amongst black gay men combining music, poetry dance and video. Reminiscent of early guerrilla protest video art from the 1980s, the film combines fine art and moving image by including my own drawings of my body.
The spaces that young queer people are creating for themselves are animated by a constant sense of self- policing, saying the right thing, being pc, body image ideals; feeling quite oppressed themselves. Certain subsets of gay subculture promote themselves as generating inclusive spaces whilst containing aspects that discriminate.
WRONG KIND OF FAT features me with a hypnotic soundtrack of me repeating queer male archetypes against these words written over my torso. I’ve been told I am too slim to be a bear and too fat to be a cub. My frustration with labelling has led me to resist such discrimination. I am never going to escape these prejudices and pressures. I am never going to fit into society’s ideals. They are made up and everyone aspires to them. I will never give into these. WRONG KIND OF FAT is not just intended for queer men, it is a call for action for all men, regardless of their identity and sexuality. All men, are under so much pressure to have the ‘body beautiful’ made famous in classical Renaissance art. These ideals are not real. They are made up and dictates that that every man aspires to them.
Project Type:Experimental, Short
Completion Date:March 26, 2019
Country of Origin:United Kingdom
MicroActs • Artist Film ScreeningLondon
July 18, 2019
Athens Porn Film FestivalAthens
May 23, 2020
Porn Film Festival, ViennaVienna
Vesuvius International Film Festival
May 31, 2020
HOMOGRAFÍA / HOMOGRAPHYBrussels
October 10, 2020
Porn Film Festival 2020, BerlinBerin
October 23, 2020
States of Desire: Tom of Finland in the Queer ImaginationPhiladelphia
September 6, 2020
North American premiere
NSFW FILM FESTIVALLOS ANGELES
December 20, 2021
Dr Lee Campbell is an artist, poet experimental filmmaker, writer, Senior Lecturer at University of the Arts London, curator of regular performance poetry night POW? Play on Words in South London and founder of Homo Humour, the first of its kind project on contemporary queer male film and moving image practices that explore humour and LGBTQ+ storytelling.
Lee’s experimental performance poetry films have been selected for many international film festivals since 2019 including Queerbee LGBT Film Festival, The Gilbert Baker Film Festival, Kansas 2020 and 2021, HOMOGRAPHY, Brussels and STATES OF DESIRE: Tom of Finland in the Queer Imagination, Casa de Duende, Philadelphia, USA, 2020 WICKED QUEER 2021, Boston, USA, FilmPride - Brighton & Hove Pride's official LGBTQ+ film festival, Brighton, UK, Splice Film Festival 2021, Brooklyn, USA and Darkroom Festival, London
In 2022, Lee’s films have already been selected to screen in these prestigious events/festivals: Beyond Words curated by Gabriel Sosa, Fountain Street Gallery, Boston USA, Micromania Film Festival and The Football Art Prize, UK-touring exhibition to Touchstones Rochdale, Millennium Gallery, Sheffield and Sunderland Museum & Winter Gardens.
RECENT SELECTED AWARDS:
2021 Best Psychedelic Fantasy film winner for 'See Me' (2020), Retro Avant Garde Film Festival NYC
2021 Semi-Finalist, Serbest International Film Festival 2021
2021 Honorable Mention, Splice Film Festival, New York
2021 Nominee for Best Original Concept and Best Atmosphere Independent Horror Movie Awards 2021
2021 Honorable Mention Award for 'See Me' (2020), Screener Short Films
2021 Best Kent Film nominee for ‘Peer’ (2020), Margate Bookie Film Festival
2021 Honorable Special Mention Award, Athens International Monthly Art Film Festival
2020 Semi-Finalist (3rd place winner), Splice Film Festival, New York
2019 Special Mention Award, London-Worldwide Comedy Short Film Festival
I am a Londoner who makes experimental films and performance poetry about being gay and working class using barbaric wit and humour’. I create performance poetry and experimental film as a form of autoethnographic storytelling/sharing of personal narratives often raw, often painful but always generous and authentic.
I am interested how the medium of film and photography (that particularly include collage-methods) considers how male body image/self-representation particularly from a gay male perspective has been coded, performed, and socially constructed from the 1960s to the present day. Applied humour as a tactic to subvert and challenge issues of representation, my current film work presents a personal archaeology and revolves around my own autobiographical perspective, using the mechanisms of comedy and humour as an integral part of my work to engage, disarm, and highlight.
With a background in Painting and then Performance Art, my current artist moving image film practice brings together personal drawing, painting, photography and performance. Collage has become a major tool in this recent film practice, reinvigorating paintings and drawings that I produced nearly twenty years ago which are juxtaposed throughout my films with current photographic and performance for camera work. These films are often made with reusing / repurposing personal archival material and sound and moving image recordings. Things insist, in a spiral, nothing’s wasted. In this new exciting phase of my practice, I use all my capacities, from theatre to drawing to painting to language to the comic to the affective to the relational, to painting and performance and film. Excavating (fine art) work I made long ago and resuscitating it, I bring it back to life through the medium of film and moving image. Integrating my fine artwork into my film work, my films create an arresting palimpsest effect by recycling pieces from previous bodies of work and placing them within my current context to see how their meanings may now differ from when they were first conceived. Whilst what is presented through my films can be read as one person’s (my) narrative, so too can it easily be read as lots of different voices layered to talk about wider levels of experience with various references to cultural context that (any)one can relate to.