by Gerry Mak in New Photography on Thursday 12 March 2009

It’s tempting to dismiss Kalup Linzy’s low-budget, gender-bending schtick as fodder for guilty, white curators with outsider art fetishes, but the deftness with which he lampoons black and queer stereotypes through his intricately rendered world is both genuinely entertaining and artistically impressive. Linzy’s characters are lovable yet unnerving for the cultural taboos they make the audience confront — like the personalities that populate John Waters’ films, they make the audience squirm while wryly asking for (but not necessarily expecting) empathy.