Monthly Archives: August 2018

A huge new tiny project: a School for Gifted Youngsters at last.

Primed dry build Gables DollhouseOh my word, I am building a new dollhouse.

Dollhouse planning drawing Suzanne Forbes Aug 30 2018

Dollhouse planning drawings by Suzanne Forbes, Aug 30 2018

My first dollhouse became a kind of Valhalla, a safe haven for all the characters and stories I love. it is a large, unwieldy, fragile metaphor for healing, hope and closure.

I imagine the School for Gifted Youngsters will work in a similar way, but more specific. My feelings about the X-Men and The New Mutants are my strongest of all and there is a lot of processing happening within even starting this project.

Also, my first dollhouse took ten years to complete, so I must be out of my mind. But actually, not so much; I have a plan.

I knew from pretty early on in the construction of my first dollhouse, around 2000, that I would need a second dollhouse. I already had too many action figures, even then, and too many weird geek jokes and visual puns and obscure heart-wrenching vignettes to tell with them.

Plus, as more and more X-Men action figures were made, it became clear the X-Men and the New Mutants would need their own house.

As I searched for a second dollhouse over the last ten years, I knew I wanted it to look a certain way. More “mansion”, less Victorian curio. Designed to be front-opening and kept for display against a wall in the English “Dolls House” style rather than open in the back for play like an American “Dollhouse”.

And I wanted it to be a “quick-build” routed MDF style, for fuck’s sake, rather than the insanely laborious die-cut kits that are now almost completely replaced by slightly less laborious laser-cut kits.

I never want to do a die-cut kit again, though I’m glad that I did get the very last Cambridge Dollhouse available on the West Coast in 2000. (For some reason I was obsessively determined that the Cambridge was superior to the nearly identical Greenleaf Beacon Hill).

There’s an excellent explanation of the different types of dollhouse kits here on Mysterious Miniatures for anyone curious about the hell that is punching out and sanding hundreds of die-cut pieces from a stack of 1/8″ plywood sheets. You can also see lots of pictures and read more about the process of building my first house here.

Below, the far superior routed/sawn MDF pieces of my Gables Dolls House kit, primed and laid out yesterday.

primed Gables Dolls House parts Aug 2018

The reason I pulled the trigger and bought my first dollhouse kit was that the model I had been eyeing suddenly disappeared from the tiny pool of online shops that existed then.

Windows for the new house primed and drying before painting.

Panicked, I called all over, looking for a Cambridge, and actually found one, the last one, at The Hobby Co. of San Francisco on Geary. I hauled the box home in triumph and terror, and spent the next three years just building the structure.

Of course, I “kitbashed” the hell out of it too, custom building the extension, rebuilding the dormers and adding new walls and high quality Houseworks wooden windows and doors.

To use routed wood doors and windows I had to reinforce all the interior and exterior walls individually, from 1/8″ to 3/8″, cutting all the pieces to size. Without power tools.

I had to learn to solder to use tape wire for the electrification, because it didn’t have grooves for round wire. It was insane, and I said “I am never doing this again”.

So I kept an eye out for a front-opening, high-quality, quick-build dollhouse that was also really cheap. For a decade.

During that time several models I liked went on and off the market. I didn’t have the wherewithal, on many levels, to acquire any of the models I liked. I finally completely finished the first house and added the landscaping, walls and greenhouse in Oakland around 2013, but  I waited to secure it to its base because I knew we were leaving the US.

I knew if we moved to Europe I’d have access to a completely different dollhouse kit supply chain, the mother lode of front-opening English dollhouses. And when we did, I started researching and pinning and comparing all the houses available. I got my first house set up and truly finished here in 2015.

Then this year, I finished the underground laboratories. It was time to be seriously thinking about a new house.

It had to fit a very specific space, and be a very specific style. After two years of research, I had pretty much settled on The Gables kit from The Dolls House Workshop, a family-run British company.

It was gorgeous, it fit the space next to the first house perfectly, it had big rooms, it had an entry hall, it had bay windows, it had an attic for Ororo, and it was the very epitome of quick-build, including channels routed for the goddam wiring.

Most of all, it was incredibly cheap for a heirloom dollhouse kit, only £209 when they can run to the thousands.

So I was thinking about it, but I am cheap and terrified of spending large sums, so I was hesitating.

Then it started disappearing from the four online sites I had it pinned from. Marked “Discontinued”, then “Permanently Discontinued”. It was still listed on the company’s own site, so after a week of nerve-wracking waiting til my Patreon money came in, I wildly took the plunge and ordered it. Two days of euphoric planning and excitement later, I got an email from DollsHouse Workshop.

They politely explained the kit had been discontinued some time ago and it shouldn’t have been on the site.

They would process me a refund. I was crushed and at a loss. I just didn’t know what to do next. None of their other models had the turned wood windows l love, were the right size, or even had grooves for the damn wiring. The other companies’ houses didn’t move me the same way.

After a couple of days of moping, I emailed the company to check on the refund, which hadn’t shown up. I mentioned that I was devastated, that I had really wanted that particular house. I don’t why I did, I guess I just figured it couldn’t hurt to share my truth!

Later that day, I got an email back from Kelly Wiltshire-Tokeley, co-director of the company, saying she had tracked one down and it would ship that week!

What an angel! Isn’t that amazing?

Oh joy! Oh happiness! The X-Men will have a home at last!

Seriously, this is such a big deal. And of course, such a big project.

Even a quick-build dollhouse is a huge DIY project, with many stages, many decisions, and many materials involved. First I did a dry build, to check for fit and parts.

Then I had to prime. The MDF walls had to be primed with a specialty MDF primer, and the turned wooden parts primed with a wood primer.

On the left you can see some of them! Our whole house smells like primer right now. The stairs will be stained with gel stain, which I’ve ordered.

I have all the paint ready for the exterior and have ordered all the wallpaper and carpets. Putting those in before actual final assembly will make a difference of at least a hundred hours’ labor between this house and the first house.

I will use modern battery powered LED lights and run a single wire through each room rather than tapewiring the whole thing.

Plus, this house has a perfectly simple rectilinear floor plan, rather than the incredibly complex layout of House #1. Which I think I will call SlurkCroft, from now on.

So I’m not making any promises or predictions, but I’m hopeful that the School for Gifted Youngsters will be open by Christmas.

August 2018 Unterwegs: punk mom and dance party on the U1

Punk mom and sporty son on U Bahn unterwegs by Suzanne Forbes Aug 29 2018This punk mom was hustling her sporty son off the U because she wanted to hit her vape pen, ready in her hand!

She was too polite to smoke it on the train, I guess?

U1 dance club unterwegs by Suzanne Forbes Aug 29 2018The scene below was a classic Berlin moment: subway car dance party.

Just as the doors closed at Warschauerstrasse, two guys hopped on the car. As soon as it pulled out of the station, they cranked up their boombox and one was rapping while the other danced. Most people were dancing, watching or filming the scene, like the woman with the gorgeous Afro. But the guy next to her, with the model-type looks, remained still and his face was masklike in repose. I imagined he had just come home from a big shoot for Calvin Klein in Dubai and was completely exhausted…

Thank you, my Patreon Patrons, for making it possible for me to draw these Berlin moments and share these stories. People are so cool.

previous unterwegs:

July 2018 bonus round

July 2018

April 2018

March 2018

February 2018 bonus round

February 2018

January 2018 bonus round

January 2018 round 1

December 2017

November 2017

September 2017

July bonus round



May bonus round

May round one


March 2





Finished for Folsom Europe: Bi Pride Corset!

Bi Pride corset by Suzanne Forbes August 29 2018 front viewThis project took an entire year! About 200 hours of work! Dang!

Bi Pride corset by Suzanne Forbes August 29 2018I started this beaded corset project last fall when I got a great price on a used lilac 426 Standard mesh corset by Orchard Corset. It was always my intention to have it finished for the Motzstr. Festival, a special Pride event in Berlin in July.

But I wound up taking an entire year to finish it, and I think that’s good. Because I made it to affirm my fundamental identity as a queer woman, and I stitched that identity and pride and love into it thousands and thousands of times.

Last summer, while writing this post, I realized I’d developed a lot of internal biphobia over the last thirty years.

As a person who has been married to three men and who has almost only dated men in sobriety, I felt like a “retired” queer person. I stopped thinking of myself as bisexual.

And as a “retired” queer person, I felt so much safer.

Bi Pride corset by Suzanne Forbes August 29 2018It’s terrible to know that, to realize I took some comfort in the reduction of my vulnerability that living a straight life meant. Because I never for a minute stopped being aware of the consequences and dangers of living an out gay life.

I knew I couldn’t blame my cowardice on my upbringing. When I was fifteen and my mom opened the door to my bedroom to see me and my friend Jenny in bed naked, she asked if we wanted to go out for brunch. She accepted my girlfriend Pam into our home for years without question.

And I am no fan of my father, but he took me to Stonewall and told me what happened there before I was ten.

So my change in identity wasn’t about shame, it was about fear.

I felt guilty about living in the Bay Area as what appeared to be a straight person. I felt guilty about the privilege that accorded me. But it seemed like compared to the people around me, I was functionally straight. When you regularly attend sex parties where you draw a trans man fucking a trans woman while she gives oral sex to a nonbinary person, being a married cis-femme seems really conventional.

Bi Pride corset by Suzanne Forbes August 29 2018Plus, as a portrait painter who often asks women I’ve just met to come to my home and pose for me, I felt less creepy identifying as cis-straight-married!

Then I moved to Berlin.

Bi Pride corset by Suzanne Forbes August 29 2018 right panelLiving in Berlin has connected me to my youth and my New York identity in so many profound ways.

There was a jump-cut that happened when I left New York at 22, in 1989, to go to treatment.

I moved to St. Paul, where the halfway house was, for six years, and then to Hartford, then to DC, then to the Bay Area, for eighteen years.

In all those places I drove a car everywhere, lived in wooden houses, people were polite in the stores… It was like a different world.

I had all these adventures in this different world, and then in 2015, I got on the subway and went home.

Or so it feels. To live in a big apartment building, take the subway everywhere, walk the city streets at 3 am, eat a slice of pizza in a doorway just out of the rain, be yelled at by a shopkeeper – this reconnects me to my fundamental self.

And of course, even though married and cis, my fundamental self is queer as fuck.

So over this year, over 200 hours, I made this corset, beading and sewing and hotfixing crystals. I will wear it with Pride at Folsom Europe next month, and I’ll get some pictures of me in it!


Archive post: We The Jury and the story of how I became a courtroom artist.

Rachel Ketchum courtroom drawing mid 1990s jury and monitorI always enjoyed drawing the jury.

It was permitted in most trials, and it gave me something to do when there was no-one of significance testifying. Someone on Instagram commented on how they enjoyed the “earnest” and detailed representation of 90s fashion in my courtroom drawings.

To which I replied, look, I was exactly the same freak then as I am now. That wasn’t “earnest”, it was editorial! It was my critique of their Minnesota style choices (and a commentary on their inevitable whiteness). I myself considered having to put on semi-respectable clothes for working in the courtroom a form of costume, in order to “pass”.

Most courtroom artists don’t draw the jury in any detail or try to get their likenesses or clothing, because they don’t have time.

Rachel Ketchum courtroom drawing mid 1990s juryBut I could do it, because from the beginning, I was twice as fast as everybody else.
Rachel Ketchum courtroom drawing mid 1990s jury and prosecutorHow did I get started as a courtroom artist? Well, somebody died.

I was in my second year at the Minneapolis College of Art and Design, having moved to Minnesota to continue treatment for my drug and alcohol addiction and decided to stay for a while. My Illustration teacher suggested that since I could draw so fast and was good at likenesses, maybe I should contact one of the local tv stations about doing courtroom illustration work.

He knew I wanted to draw comics, but he thought it would be a good way to get paid for drawing til I broke in. He was right.

I took an afternoon and went to the courthouse, made a couple sample drawings, and contacted the stations. I met with the news producers at a couple of them, and they liked my work. I was called in to work on my first trial pretty soon afterwards. And one of the stations, WCCO, the CBS affiliate, claimed me as their own right away.

Rachel Ketchum courtroom drawing mid 1990s court audienceIt turned out there was a gap in the local courtroom artist pool.

There were four local stations in the Twin Cities in the mid-90s, WCCO (CBS), KSTP (ABC), KARE (NBC) and an independent whose call sign I can’t remember. There were also four local courtroom artists, or had been for some years. Each artist worked mostly for a particular station. Right before I contacted the stations, one of them died. Of old age!

Courtroom artists are hired by the press, not the courthouse; there’s a common misconception that courtroom artists are like court reporters, who are the stenotype operators who transcribe speech for the court’s records.Courtroom drawing Rachel Ketchum early 90s for WCCO TV court reporter and witness

Why was there so much courtroom illustration work in the Twin Cities, at a time when Court TV was exploding in popularity?

Because Minnesota happens to be one of the most restrictive states in the US regarding cameras in the courtroom. Almost every state was allowing local proceedings to be broadcast starting in 1991, but not Minnesota. In the 90s, cameras were almost never permitted in trials at the state level and absolutely never in the Minnesota Federal courthouses. So if the TV stations wanted images to go with their reporting like TV stations in other states had, they needed courtroom artists!

That’s right, I had my first professional art career because of the state I randomly landed in when I wanted to go to the best halfway house.

Courtroom drawing Rachel Ketchum early 90s for WCCO TV defense attorneyPretty crazy, right? But I was really fortunate, because I was damn good at the work, everyone loved my courtroom drawings, and I wound up doing work for the CBS National News and selling drawings to CNN and the local papers when I was barely out of art school. I was settled in an art career that paid handsomely before I even graduated.

There were only three problems: I wanted to draw comics, I wanted to leave Minnesota, and I am a sexual assault survivor.

Working in the courtroom wasn’t sustainable for me in the long run, even if I hadn’t been giving every spare minute to breaking into comics.

I couldn’t handle covering the endless violence against women and children; I was burning out by the time I got my first comics job in 1994. I tried to do both for a few months, because I felt terrible leaving the station with no-one to call. I had worked for them for three years, and I was really fond of the reporters and producers and my fellow courtroom artists.

And I was afraid that if I quit, the artist who would replace me would be a man and that would be one more man in the audience the rape survivors would have to look out at as they testified.

But I got offered a full-time job as the regular penciller on a monthly Star Trek book.

Being the regular penciller on an ongoing monthly book is about as good as it gets for comic artists, and I was thrilled beyond words. It had been my dream since I was seventeen, what I’d been working towards for years. So I had to tell WCCO I was done. I went to the station and collected the drawings that were still there, in a storage room, and brought them home. It’s drawings from that batch that I’m photographing and documenting now.Courtroom drawing early 1990s Rachel Ketchum for WCCO T V witness

You can see the previous post of courtroom drawings here.

I didn’t have a camera, and of course there were no camera phones. So until this moment, the only documentation of these drawings that existed was the footage the WCCO-TV cameraperson shot for the night’s news. And the station kept all that footage on BETAMAX tape. So, I am incredibly grateful to my Patreon Patrons, whose monthly financial support makes it possible for me to take time to document my art archives.

Until today, no modern media record of these drawings existed – if we had a fire or flood they would just be gone forever.


On the roof of a fancy hotel, Miss Natasha plays the accordion.

Two drawings of Miss Natasha Enquist by Suzanne Forbes Aug 2018I was invited to Miss Natasha Enquist‘s performance at the Grace Bar at Zoo Hotel.

That’s the drawing on the left, in blues and greens. The Grace Bar is a very fancy place, and I never go anywhere fancy in Berlin, so it was an interesting experience. The rooftop bar was absolutely full of blue magic hour light, reflected from the blue-tinted glass of neighboring buildings and the long Berlin twilight.Miss Natasha Enquist at Blue Summer Night Aug 16 2018 by Suzanne Forbes

It was very beautiful, but the scenesters and “influencers” at this invite-only party were completely ignoring that.

I had to leave after her first set because it was quite hot and the waiters were passing around all these frosty mojito thing drinks, which made me very thirsty! I very, very rarely feel any temptation to drink alcohol since I got sober in ’89, but a hot night and frozen drinks all around was a bad combo for me, so I went home!  And quickly got to work on drawing the colors of the evening. I tried to capture that blue feel.

Miss Natasha Enquist at the English Theater Aug 28 2018 by Suzanne ForbesI was also inspired to finish an orphaned drawing from this April, when Miss Natasha performed a concert at the English Theater, with proper theatrical lighting. Me and several friends went to see her, including Giulia Caruso, a fellow artist and also fellow art collaborator with Miss Natasha. The lighting and visuals were really lovely, but unfortunately it was really dark in the seats!

So I finished the lighting and color on this from memory, my mental file of images of light particles falling on MNE’s elegant face. As a portraitist, it’s so important to me to draw the same models over and over, to really try to understand how light lies over the skin and bones of a face I know.

There’s a reason artists paint the same person many times; it’s because it’s a different story every time.

Mauve Moth embroidery art shadowbox.

Barbie Dream House Moth by Suzanne Forbes Aug 22 2018AKA the Barbie Dream House Gum Emperor Moth.

I looove pink. I decided to try something new, framing the piece under glass in a shadowbox. I got the shadowbox a while back and silver-leafed it at the same time as I was leafing the hoop for the last insect embroidery piece. Efficiency!

This God-Empress of West Berlin is sewn on a crushed panné velvet sock cut open. I get them on eBay for a euro, it’s so much cheaper than buying velvet yardage.

I used some vintage metallic pink trim for her layers of torso fur, and fine ombre silk embroidery thread and regular sewing thread for her ruff. I wanted to suggest its fluff without actually using a fluffy substance.Barbie Dream House Moth by Suzanne Forbes Aug 22 2018 detail

I did as much beading as the hoop allowed, then glazed the back with my favorite glue for fabrics so it wouldn’t buckle when I took it out of the hoop.

I glued the whole piece down onto the shadowbox backing. The velvet sock didn’t quite cover the backing – it had contracted from the heavy stitching, or I was sloppy when I checked the fit.

So I added some machine-embroidered floral applique bits I had around, already partly cut up. I’m actually delighted with the way the piece looks in the frame and may start framing them on the regular. The only other bug embroidery under glass so far is this one.

Sometimes I just have to lean into my femme-ness and go full pink!Barbie Dream House Moth by Suzanne Forbes Aug 22 2018 detail

“Vampire Schmetterling!”- Antoine teaching kids origami at Hometown Berlin.

Antoine teaching origami at Hometown Berlin by Suzanne Forbes Aug 21 2018My friend Antoine was doing free origami workshops for little ones at an open-air street art club/installation near the Zoo.

Origami Werkstatt at Hometown Berlin Aug 12 2018I went to draw him teaching! His friend Fabienne and her little guy Hector were the first ones there.

When more kids arrived there was a funny American girl who kept busting out with these wild sayings.

The kids were all very calm, making origami butterflies, and she suddenly yelped,

“Vampire Schmetterling!”

Suzanne Forbes drawing at Origami Werkstatt at Hometown Berlin Aug 12 2018Schmetterling is German for butterfly; I was surprised she knew the word, as I had assumed her family were tourists. But perhaps she is bilingual.

Anyway, Vampire Schmetterling is my new band name.

Hometown Berlin is located on what I believe is an old bus depot, with street art, graffiti and murals, put on by the Euro-Wandelism crew.

Here’s the Instagram! Hometown serves as a club, dance floor, graffiti and mural gallery, artists’ creative space and staging area for artwork being made for Monumenta Leipzig, a huge street art installation being created in Leipzig.

Antoine teaching origami at Hometown Berlin Suzanne Forbes Aug 21 2018 detailI was sitting there in the shade drawing these beautiful people doing creative work, surrounded by artists quietly working away on projects, with excellent music from a live dj, and I thought, this is what perfect happiness feels like.  This is absolute wealth.
Suzanne Forbes live drawing at Origami Werkstatt at Hometown Berlin Aug 12 2018

You can see I’m holding the pen a little funny because of the bus accident, which I’m gradually healing from. It works fine though!

I was able to draw for an hour at Hometown, then go to the Peaches show in Mitte and draw for several hours there. My hand was swollen, but not painful.Dancer at Hometown Berlin by Suzanne Forbes Aug 12 2018

On this sunny Sunday there was an excellent DJ and I drew the first person to hit the dance floor.

It’s normal in Berlin for very casually dressed older people to be totally serious about hardcore techno dancing in the middle of the day.

I absolutely love the subway rocket in the middle of the floor. I wish we could have it in our house. In the background you can see graffiti art by kids, they just gave ’em spray cans and let them go nuts. Now I kinda also want to give our friends’ kids spray cans and let them turn our house into a total Basquiat mashup but I will hold off on that 🙂

Thank you, my Patreon Patrons, for making it possible for me to do this work and draw these beautiful people!! I make this live event art and share it for free because of my Patrons, and anyone can help for as little as a buck a month.

Drawing Durk Dehner as “My Gay Eye” opens at the Ballery.

Durk Dehner Henry de Winter and Ronald Klimmek at the Ballery by Suzanne Forbes Aug 17 2018I went to The Ballery last night for the vernissage of an amazing show of historic and modern gay erotic art.

The show and this special edition of the “My Gay Eye” book are presented by Rinaldo Hopf and Durk Dehner, the President of the Tom of Finland Foundation. Durk was representing in his Tom of Finland Foundation shirt! Rinaldo, a master of German erotic art, was so friendly and kind to me!

The show has Tom of Finland originals and vintage gay comic pages as well as gorgeous contemporary works on display. Lots of West Berlin queer elders were present, including legendary performer and dandy Henry de Winter, left above, who I drew at a birthday party this winter. And Olaf of Berlin Cigar Men, another favorite subject of mine. Photographer Ron-Berlin, on the right above, told me a beautiful story about his time in San Francisco in the 90s.

It was very important to me to draw Durk, center above and left below, because I wasn’t able to when I met him in Los Angeles in 2005.Durk Dehner at the Ballery by Suzanne Forbes Aug 17 2018

Durk IS living queer history, a million stories of passion, friendship and loss alive in one veteran of the war for the freedom to love.

He is full of love and light, always moving forward, always looking to help young artists. His lifetime of advocacy for queer art and queer culture has made an enormous difference in what was saved and who can make art. I watched exhilarated young queers thanking him for the work he has done with the Foundation to protect gay history.

And the Tom of Finland Foundation made a huge difference to me, on the second worst night of my life.

On December 10, 2005, the day my second husband finally told me he was leaving me, I was in Los Angeles. I drove away from him forever on a Culver City street and went to Hollywood to see a portrait client. She hugged me as soon as she saw my face, and we were suddenly friends. To have my impossible grief received with compassion was one of the greatest gifts my work has led me to, and the portrait is one of the best I’ve done.

Then I changed into fetish wear in the car on the street in Echo Park and went to the Tom of Finland House.

TOF house photo by Adrian Scott Fine/L.A. Conservancy

TOF house photo by Adrian Scott Fine/L.A. Conservancy

My eyes were swollen from crying, and it was really hard to put my false eyelashes on, but I had been invited to the Foundation’s Holiday party and I wasn’t going to miss it. I came up the walk to the beautiful Craftsman house (now a Los Angeles Historic Cultural Monument site), and friendly leather folx waved at me from the porch.

The house was glowing with light in the winter dusk; I went in the open door and found myself in history, hope and family. The kitchen was full of potluck dishes; there were clusters of people laughing in every room, and everyone welcomed me.

I wandered the house, looking at the art on the warm walls, thinking about the queer lives and stories the house holds. An adorable twink sprawled on the bed in the Artist’s Residency room. Someone offered me a tour and I was lovingly led to see Tom’s studio and the spooky, kinky basement. I felt as if i were pregnant with pain, every cell in my body was poisoned with pain and loss, but I knew my work mattered and that it mattered in the context and embrace of this living museum.

The community was like a beating heart, and I was just one random corpuscle, safe in its pulse. I knew people cared about me and about art and that I was going to survive this terrible day and keep making sexy queer art. Just as the house had survived the AIDS crisis, just as queer life has survived and blossomed in the 21st Century, I was going to keep working.

Thirteen years later Durk hugged me in the heart of Gay West Berlin, and he is still strong and vital and working his ass off for art, and so am I.

visitors at the Ballery by Suzanne Forbes Aug 17 2018An absolute must-see of exuberant gay love and gay lust, the “My Gay Eye – Homage to Tom of Finland” exhibit is up at The Ballery through mid-September. If you go on a Tuesday evening you can enjoy cocktails on the street and Otto playing the grand piano like the folx in the picture above!

You can buy the special Tom of Finland edition of the queer art anthology “Meine Schwules Auge”  in the TOM store here or in Germany here.  It’s in both German and English!

The Tom of Finland Foundation protects, preserves and promotes erotic art.

You can become a member right here! The work the Foundation does to preserve queer creative history is beyond price, but you can always help with donations! It’s a nonprofit 501(c)(3) Educational Archive so donations are tax-deductible 🙂

And of course, I am able to do this work making art about queer history because of the generous support of my Patreon Patrons. I make this live art and share it for free because of my Patrons, and anyone can help for as little as a buck a month.

Rainbow Magic at Peaches’ Experimental Art Show in Mitte.

In line for Peaches August 12 2018 by Suzanne ForbesThe hero of the hour was Sue, who queued in good time for the experimental art piece Peaches did Sunday at Neuer Berliner Kunstverein.

You know how sometimes you go to meet your gorgeous friend and they are with their new hotness and they’re smooching on each other and you’re so happy to see beautiful humans being happy together your mind is just blown? Anto, seen above preparing inhalable refreshments, didn’t know Sue or Zuzana before, but since I know Anto it seemed completely natural to me that they were all hanging out together!

And of course Anto was wearing one of her amazing wearable art crochet art pieces, which I always love to draw.

You can see more drawings of her, at Bordello Bizarre, here and here.

Nico, below, is from Oz and actually a friend of Gaff-E, who I drew a while back, also at Bordello Bizarre.

We chatted while in the line and he told me his lovely coming-out-to-his-best-friend story and also about his fabulous outfit which was entirely borrowed except for his shoes. The ombre shrug, made of a gradient of vintage leather opera gloves and organza ruffles, was a showstopper.Nico in the queue for Peaches August 12 2018 by Suzanne ForbesAnd then there were all these other beautiful queer nonbinary agender drag kinky folx who were dressed in feathers and glitter and balloons, and everybody was really happy like it’s when Pride falls on perfect weather or all your friends meet up at your favorite con or something.

Well that’s a Peaches show in Berlin!

The show itself was amazing, and it turned out I knew several of the dance/movement performers, and I made lots of drawings, but they are pretty sketchy so it will take a while to finish them up. I wanted to finish these two first while my memory of the vibrant colors was strong enough to give me the courage to try and capture them! I am not sure I succeeded, you can’t imagine how vivid and luminous and alive everyone was out there on the street against the grey cobblestones, but I tried. And I will keep trying.

thank you, my Patreon Patrons, for making it possible for me to do this work and draw these beautiful people!!

I make this live event art and share it for free because of my Patrons, and anyone can help for as little as a buck a month.