Much of the Trans and Intersex community are simultaneously treated as sources of sexual desire and of shame by others. “The Holy Intersex” is a commentary on these opposing forces, meant to bring awareness to the problems of objectification of others. With the body posed in opposition to the classical Venus pose, meant to be a portrayal of shame in one’s nudity and commonly associated with women historically throughout art history, it shows the figure instead taking great pride in themselves. Pairing this with the traditional representation of the Virgin Mary’s robes and halo gives the figure an association of innocence and purity that we are all born with, regardless of our gender or sexual organs. The coverage of the face and the hands reaching to disrobe and to touch the figure are symbols of our blindness to those who view us in this way, who would seek to hurt us or use us, for being what we are, but they do not get to define our purity, our pride, or how we view ourselves.
Laney Evans is a visual artist based in Memphis, TN, and art has served as their way of engaging with the world. Art was always a part of their life as an acceptable means of escapism from a young age, and it served as a means to come out of the shadows and express themselves amongst their peers throughout elementary school, all the way to their BFA at the University of Memphis. Through fantasy and mythology, they found themselves lost in world-building, storytelling, and engaging with lore and other cultural beliefs to find meanings in symbols. As they got older, art served as a means to interact with themselves and communities around them. Today, their art centers on portraiture in oil paint as a recognition for the communities and outlier groups they find themselves a part of, including the LGBTQ+, neurodivergent, and body mod communities.