Other Kinds of Pleasures

Enter the shiny, latex-heavy, enigmatic world of Bloodshrimp

Added 2021-09-26 11:15:16 +0000 UTC

"The first time I looked at myself when I was in full gear, I felt like an object, in all the best ways". In "Ask A Rubberist" series (check through the tag below) I talk to people about their deeper connection with latex and all the things it means for their sexuality, creativity and identity. Beyond thrilled that the latest interview is with Bloodshrimp who has had a totally iconic impact on creating an image of latex fetish which is hot, contemporary, subversive and fun. Enjoy <3

In today’s world, how can one be anonymous and famous at once? There is a lot to say about this since Kim Kardashian wore that leather mask a few weeks ago – but of course, it’s been a thing in kink for much longer. There is an interesting read on hoods on DAVID substack, or an essay on our right to opacity in the latest Paraphilia. But when I meet Bloodshrimp, this is what I think about – how sometimes fetish culture and sexuality can allow one creatively inhabit so many entities beyond just the one persona society sees.

The world of Bloodshrimp is built around heavy rubber – often a black head-to-toe full coverage catsuit, sometimes just a hood and gloves. Locations shift: from crowded streets to swimming pools to lush Catholic churches to a winter landscape mid-blizzard. Bloodshrimp is also never the same: the documented physical and mental performance shows how latex can endlessly transgress boundaries – settings, contexts, gender, power dynamics, and even the necessity of appearing as a person.

Latex creates an intense physical experience – combined with the collaborative creative energy and vision in Bloodshrimp’s work, it becomes a way rethink what we know of sexuality, fetish and identity today. It’s also playful, hot and incredibly visually satisfying – so if you’re not curious about latex after having a look, what are you even doing.

How did you discover latex?

I discovered latex in 2015, when I got my first pair of latex stockings. I loved the feel, the look and the way the latex smell lingered after I handled it. However, the fetish for tight-fitting suits started during my competitive swimming days, when I had to squeeze inside racing swimsuits. Wearing latex catsuits sort of became the natural next step.

What do you love most about latex?

Aside from it looking insanely badass? I love the way it shines when light and water hit it from certain angles, I love the smell and the way that it makes you feel when you put it on. The first time I looked at myself when I was in full gear (i.e. hood, gloves, catsuit, socks, boots) I felt like an object, in all the best ways. When you can’t recognize yourself, all of a sudden you feel free to do things normally you wouldn’t do. Latex transports me to a mindset where I can fully enjoy play.

When and why did you start your Instagram account – and why did you feel like it was important to make it part of your creativity and show it to the world?

The Instagram account started out as a lockdown hobby that I shared with my ex. He managed the account while I posed in front of the camera. When we broke up, I continued it solo. It was extremely revindicating to take creative control, and how I could finally decide for myself what content would be posted. I started reaching out to different photographers (some fetishists, some that never shot latex before) and creating content in collaboration with them. I started getting a huge kick out of this idea that the character I was embodying was adaptive to all: different contexts, different perspectives, locations and even latex outfits (ranging from “typically feminine” to “typically masculine” to androgynous looks). I also really enjoyed the social contact it afforded me since the lockdown seemed to pull all of us apart. Overall it has unexpectedly become the creative outlet that I have always been looking for. It’s an indescribable feeling to have your vision not only recognised but appreciated by fellow users and other creatives. I also feel the need to bring latex and fetish to a mainstream audience, to demystify some preconceived notions. There’s an element of provocativeness in what I do. But it’s more of an invitation to play rather than to push away.

How do you come up with ideas for shoots? Is it something that comes from abstract ideas, places, collaborators - or some things also from latex itself?

The ideas come from a mix of my story and the story the photographer puts forth. I love to come up with concepts, and then pitch them to whoever I’m sharing this experience with. I thoroughly enjoy the perspective other artists bring to the table as well, because the end result is something really unique. Sometimes I shoot beside fellow fetishists, and they bring a side of latex that’s original and new to me as well, it being either appreciation for latex items and configurations I haven’t seen or things they themselves built... It’s a never-ending learning experience. I also feel extremely grateful when my expression galvanizes someone else’s and they take the time to reach out to me. The continuous giving and taking in the latex (and fetish) community is really a marvelous thing. People motivate and inspire others continuously.

What was your favourite shoot ever?

Argh tough one. I’ll give you three that stick out, not because they meant to me more than the other shoots I did, but because they encompass very specific time points in how my account came to be.

The first shoot I ever did was with @latexbenzo. He rescued my ex and me from a remote hut in Iceland in a middle of a blizzard with his Jeep, took us to Reykjavik for us to change into our gear, and then drove us right back into the blizzard for our first ever shoot (with a photographer). The whole premise of this shoot is already insane (shooting in a blinding snowstorm at -15oC), but we enjoyed the results of this shoot so much that it prompted us to open up an ig account to post them. @latexbenzo was extremely cool and made me trust him implicitly right off the bat.

Another has been the first (and subsequent) shoot (s) I did with @nonothing. The first one we did was my first ever shoot as a solo artist where I had full creative hand on what was being made without a partner. It was also the first time I went into full gear in a huge crowd, under a blistering sunny day in the middle of downtown Lisbon. Every collaboration I did with him has been extremely reinvigorating, he is a fabulous creative himself that just “gets” where I come from concept-wise.

Last but not least, the “BLOOD” video shoot I did with @gagger in Barcelona. This was a pretty abstract and experimental shoot that we arranged without ever meeting face-to-face. This was a two-person operation, him behind his camera equipment, and me in front of it. We shot in a fantastic location @gagger found and out of it came one of the works I’m the most proud of ever being a part of. There’s something just really rewarding when you can have an implicit understanding like that with someone you just met in person on the day.

Why do you love black latex over any other kinds?

You will definitely find me wearing black most of the time. Fact is, black really is the industry standard for equipment, so it’s just more likely you’ll be able to find the suits and accessories you need in black. It’s also very slimming? (Laughs)

It’s not that I don’t enjoy different colours (I’m slowly dipping my toe in red and pearlsheen silver rubber items), it’s just that items of different colours are harder to match. I also just enjoy the old school look of latex in black and transparent latex, because I feel like my vibe is a bit more “play” oriented, as well as queer and industrial. Black just really fits all moods.