cheddar_gorgeous cheddar_gorgeous

234 posts   85,278 followers   136 followings

Cheddar Gorgeous  Unicorn, alien, and Idealist. I draw, write and do drag in Manchester, UK. For bookings and collaborations email Cheddardangerous@gmail.com

Everyday I thank the gawds for this #stupidbitch...daughter, burden, carer, @liquorice_black
Follow her for glamour, fashion and embarrassing social media faux pars that get deleted two days later when she wakes up...
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#familygorgeous #manchesterqueens #drag #fashion #style #makeup #mua #culture #gay #lgbt #queer

@neilnezkendall is a renaissance painter that uses a camera instead of paint...shooting with him is always a joy.
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#demon  #manchesterqueens #drag #art #artist #gorgeous #me #transformation #gorgeous #Beauty #glamour #makeup #fashion  #art #painting #fantasy

Pictures from An Afternoon with the Family Gorgeous and Friends at @mcrmuseum .
Working with the museums curators, our specially trained squad of #culturequeens (and kings) created #drag responding to some of the objects on display, helping to reveal to visitors some of the collections queerer histories. .
#drag #art #culture #museum #gallery #lgbt #queer #lovelytime

On hand to guide the guests on the queer exploration of the @mcrmuseum collection was the always informative @liquorice_black.
Liquorice led visitors to the otherwise very subtle and almost unoticible drags blending into the exhibits around the museum.
#culturequeens #drag #lovelytime

First stop on the tour of @mcrmuseum was @evaserration who had a story to tell about the Chinese Manchu Headdress

Their words:
"The exquisite Headdress before you is an example of a Dian Zi, a type of headdress created by the Manchu, usually adorned with gemstones and pearls in elaborate patterns on black silk fabric and worn by noblewomen during the Qing Dynasty.
This headdress is an example of the type worn by the Empress Dowager Cixi of China. Born in 1835, she was first notable for being handpicked for the royal harem as a concubine. She rose through the ranks of the monarchy providing her Emperor with an heir. Upon the death of her son the Tongzhi Emperor, she ruled with an iron fist for 47 years as Empress Regent from 1861 until the day she died in 1908.

Her handmaiden, Ming In, has travelled through time and space to modern day Manchester. It took a while for her to adjust to a strange new world, but having lived in Manchester for a few years she is on hand to provide a unique insight into this fascinating, powerful historical figure and the culture she inhabited through a modern context. In short, she is to spill all the tea in China on her former mistress who managed to dominate her empire in a patriarchal society. There will be fireworks..." - Eva Serration

Behold baby DonDon (a.k.a @donnatrumpuk) educating the kids about Shabtis and the Two Brothers at @mcrmuseum

Their words:
"Shabtis were called upon by the god Osiris to answer and speak on behalf of the deceased. They would be called to do the work for the deceased in the afterlife.

It is important as members of society to speak for those who feel like they do not have a voice. LGBTQ+ is just one of many communities through history that have been perceived through the eyes of people who do not take the time to explore cultures different form their own.

The mysterious identities of the Two Brothers are eternally fascinating – why were these men buried together? Were they really brothers? Or something more?

Stories should be told for people to learn and not collected over time as a keepsake to own – do we really know what is fact and what is fiction? Only the depiction of their identities can reveal…"

Pictures from An Afternoon with the Family Gorgeous and friends @mcrmuseum.
Working with the museums curators, our specially trained squad of #culturequeens (and kings) created #drag responding to some of the objects on display, helping to reveal to visitors some of the collections queerer histories. .
#drag #art #culture #museum #gallery #lgbt #queer #lovelytime

In a small ante room @queen.venus.vienna reveals the Faiyum Mummy Portraits

Her words:
"The Ancient Egyptians believed it was of optimum importance to be as beautiful in the afterlife as they appeared during life on earth. The detailed paintings placed on the coffins were thought to ensure the deceased would be presented in the afterlife at their most beautiful; timeless and eternally magnificent.

There is evidence to suggest that Oscar Wilde saw these paintings and was inspired to write The Picture of Dorian Gray; the story of a handsome young man who sold his soul to remain forever young, his sins recorded in oil.  First published in the 1890 issue of Lippincott's Monthly Magazine, the novel incurred great controversy, with many readers feeling the story perverted the sensibilities of Victorian morality. The novel explores themes of hedonism, aestheticism and narcissism.
In today's society, these themes are presented shamelessly through social media, but so often these themes are portrayed through a hetero-normative lens. For Queer people, this can mean living up to a standard of masculine or feminine beauty conventionally associated with their birth gender, even if this conflicts with their true identity. We are beginning to become more accepting of different forms of beauty; but the hetero-centric ideals of gender expression still cause many Queer people to shroud their true identity and keep secrets in order to fit in with the sensibilities of an inconsistently tolerant society.
Dorian Gray and Oscar Wilde both kept secrets; Gray kept his secrets recorded in his ever-deteriorating portrait, Wilde behind his woefully unnatural green carnations.

In a society captivated by aestheticism; truth, visibility and freedom of expression are powerful steps towards a celebration of all forms of beauty.

Photo by @Brian.bothwell

Visitors to the Victorian hall at @mcrmuseum were greeted by @annaphylactic1 responding to a piece of soap in (allegedly touched by Queen Victoria). Here's what she had to say: "The Manchester Museum opened in 1890. It was set up by a group of wealthy men. It is now 2018 and it’s taken over 125 years to appoint its first female director! Huzzah!
During the Victorian period men and women’s roles became more sharply defined than at any time in history. Man, the breadwinner and woman, the homemaker. Patriarchal society did not allow women to have the same privileges as men.
In the Victorian era women were firmly placed in the more caring and domestic role and this stereotype required them to provide their husbands with a clean home, food on the table and to raise their children. In their private lives they were subjects to their husbands, fathers and sons. They weren’t afforded the rights of their male counterparts.
Queen Victoria however was more powerful than anyone else in Britain ruling over both men and women. Something of a paradox. Though by all accounts she wasn’t a big fan of the ‘mad, wicked folly of women’s rights’ stating in a letter that ‘God created men and women different-let them remain each in their own position.’ I chose to focus on the bar of soap that Victoria may (or may not) have touched on her visit to Manchester because it seemed like such a non-story. Why is this important? Why are we interested?
Also, symbolically, it both references the domestic and caring roles that women were put into but also cleaning away of other narratives. It became apparent on my visit to the museum that there was a wealth of fascinating stories hidden away in the collection and not being told; only certain stories are on display.
Could this be because we are still viewing the exhibits through the lens of a white Victorian gentleman?
I wanted to personify this Victorian gender ideal but also subvert it and queer it up. Playing the role of a Victorian housemaid myself, this will perhaps/hopefully ignite a curiosity within the viewer to ask what stories are we still not seeing and demand to know what else is hidden away in the vaults!" Photo by @Brian.bothwell

The peppered moth’s transformation from a white speckled beauty to its pitch black form and the subsequent return to its peppered look in a matter of decades is held up as an example of evolution in action.
The darker variety of moth was not known until 1811 yet a field expedition in Manchester in 1848 demonstrated a dramatic increase in their numbers. By 1895 it constituted 98% of the population. The species’ radical shift was caused by the improved relative survival of darker moths during Britain’s industrial revolution when the surfaces of trees and buildings were turned black by pollution. Moths that were able to stealthily blend in with their surroundings were less visible to predators, while those that stood out became easy targets. The lighter variety of the moth only became common again between 1962 and the present day as the air around cities became cleaner.

The concept of living in stealth, or ‘passing’ is often associated with LGBT and queer people. The need to appear ‘normal’, by living a gender that feels inauthentic, while conducting personal liaisons in secret or even marry a person of the opposite sex to keep up a charade of heterosexuality were strategies of survival for people who faced and those who continue to face persecution. With the growth of the political Right in the US and certain parts of Europe, a return to stealth is a serious concern for many people in parts of the world where LGBT rights were assumed to be secure.

Of course, even in its speckled form the peppered moth always has to adapt to survive. Just like the moth, the ways that we are able to express our selves will always be shaped by our environment, a factor represented here in the choice of the stereotypical (yet much loved) camp classics like Gloria Gaynor's ‘I Will Survive’ and Diana Ross’s ‘I’m Coming Out’. Queer people have always had to transform to survive. However, unlike the peppered moth, the collective visibility of our diversity has always been one of our greatest weapons in maintaining that survival

Photography by @brian.bothwell and @dwilby13

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