Truer, 2008-2009, is autobiographical. In the series, I photographed my relationship over seven months. Queer narratives–particularly of women – have existed within a structure of systematic censorship. The record of such lives can be found most notably in their absence. As such, Truer work functions as art and as evidence, which now having been disseminated into the world can never be completely denied. While there is a dearth of embodied, queer female subjects in the discourse – the fictional lesbian is ubiquitous. One only needs to look at pornography to discover a seemingly endless reservoir of material which portrays lesbians as props in heterosexual, male fantasies. The history of art, also contains a strong bias towards the female nude in service of an anonymous male spectator (Berger et al 1972). Acutely aware of this context, I constructed the series to interrupt those who might seek out such fantasies. As author and subject, I utilized gesture, eye contact, queer signifiers, and obscuring while showing, to share this very personal story while at the same time conveying a boundary that holds our complexity as subjects and refuses to flattened into objects.