Shibari on the Streets of New York City

By: Abby DivDate: Dec. 11, 2020

In Le Sex Lab's podcast we are talking about shooting New York City urban street photography, The Shibari Project and a hark back to print media. In the lab to chat about his recent work and new publication is photographer and artist, Dirty Archangel.

Abigail Div
Hello, everyone, we're going to be talking today about urban street photography shot in New York City. But with a very interesting twist. I'm your host Abigail Div, founder of the sex lab and experimental media lab exploring sexuality. In today's interview, we'll explore the following. How did dirty arch Angel start shooting BDSM fetish street photography? What is The Shibari Project? Planning, outdoor fetish, BDSM shoots, how do you make them happen? And finally, the new print publication. Why go into physical format? What everything's going online. With me today to talk about his work in urban street photography, his artist and photographer Dirty Archangel. Welcome, DA.

Dirty Archangel
Thank you so much. There we go. Thanks for having me.

Abigail Div
Oh, welcome to Le Sex Lab's podcast. You have a very impressive amount of photography, not to mention experience in the fetish, BDSM scene. And you're a master Dom and all in all, a badass kinky guy based in New York City. But let's talk a little bit about your background before looking at your work. You're an engineer by trade, a photographer by passion and a headedness by lifestyle. This combination of characteristics has translated into a set of projects that are uniquely your own. What drew you to shooting street photography? You shoot cityscapes? Well, before you put people in that, right?

Dirty Archangel
Correct. I started with the photography. Like I said, I've been doing photography around New York City for more than a decade. So photography was always my biggest passion. I mean, I couldn't make it to a full time job. But I'll do it on the side. And BDSM came after that, when I started the writing about the BDSM poetry. When I started getting more involved in BDSM community, it just as like the you know, the creative mind, you just can't help the creative ideas just pops up into your mind. And I started having these ideas that take the BDSM out of the closed rooms, dark dungeons and out of the sunlight, because I like to express sexual desires and these kind of kinky fetish ideas out in the open, not in people's face, of course, but I like to mix them with my street photography, skills, and scenes from the most beautiful city in the world, New York City. That's how it started. I was like, I need to show people, of course, also, you need to do something different to get people's attention. Everybody can get a beautiful model and lay on the bed and tie them up to all kinds of pieces, some photography. But when you put someone tied up in front of amazing New York City, and view that instantaneous to get people's attention. And that's how I started doing it.

Abigail Div
Great. Well, let's get into talking more about your more recent ongoing project. The project I'm referring to is the shabari project, which combines models and various states of undress with quite possibly one of the most dichotomous art forms for the sidewalk. I say to Carlos because it's by tradition, slow and pace. methodical, evolves over longer stretches of time in a traditionally a very intimate domestic setting. Not exactly ideal for the fast paced shooting style required for shooting the streets of Manhattan. How did you come up with the idea?

Dirty Archangel
Oh, yeah, that's that was another creative like light bulb. Turning on in my mind. I mean, the Yeah, there are some projects you think about it and you try to come up with an idea based on something is so but this is just instantaneous idea came up in my mind when I first saw my shabari performance. I mean, of course my you get involved in the BDSM community. There are so many very broad umbrella there's so many practices, and she bar is one of my favorites that combines the human body and rope. Art. It's it's just something amazing. Like I said, it's so slow. pace, something you do, or a time because you interact with your model you interact with the robot is it takes. It's a sense, sensational, sensual, slow pace performance. But of course, for my photography project, we had to change that. And when I, like I said, when I said it on my first Sheba performance, it just popped into my mind that model and rigor just showed up in a did that the first performance we did in the Central Park ball bridge, that scene just popped into my mind, that was just instantaneous, something that came up in my mind. After that, I started pursuing that project.

Abigail Div
So you had seen the bridge, I'm all for seeing Well, before you had ever decided to shoot the bridge?

Dirty Archangel
Yes.

Abigail Div
And finding good collaborative partnerships with as you were saying riggers and models is essential to making this all work. How did you find your co-conspirators?

Dirty Archangel
they are the most important part because I'm the photographer, I tell them where I want to shoot. And they create that magical scene for me to photograph. And when I started looking for on Instagram models to shabari. So I tried, I started approaching them, I started a couple of models. I didn't directly come up with the approach with the projects, because it's a very intimate project. So first, I need to become friends with models and stuff. So I found teaching, she's a very sweet person. She's an amazing friend and model. So after we started talking, I opened up my project to her and she was so excited. And she just jumped in. rigor is the important part, also the in the project, because that person ties my model in very, like dangerous situations and various locations. And so I let Gigi to decide who wants to be her rigger. Sam, is her partner. And we talked to him and she he also accepted with enthusiasm. And they're also kind of daredevils and amazing artists there their experience. They do an amazing job. And I was just lucky that I found them to include in my project.

Abigail Div
Yeah, finding good collaborators, as I was saying is essential to making this whole thing work as there is many elements, including timing and logistics to be considered. Do you carry a lot of equipment? Besides your camera, of course, like lights, reflectors lenses, while you were shooting this project?

Dirty Archangel
No, because it's just this this photography. And the thing we do also is not so well received. Because, yes, New York City, it's legal for a woman to be topless. But we push the envelope in this project. And that's why we need to do guerilla style, going to the tie, take the follow and get up before anybody calls 911 on us or anybody calls cops on us, or run into any cops walking around town

Abigail Div
Talk about the pressure to execute fast

Dirty Archangel
Yeah, that's why I just have my backpack, my tripod, my camera and my lenses. That's it.

Abigail Div
And what about light as you're not carrying a ton of photo equipment in order to set the scene if you will. You shoot really early in the morning when there's not a lot of lights.

Dirty Archangel
Yes, we go before the sunrise. So that because also the sunrise, the blue are golden are crazy, the most amazing back lighting for us. And I use professional grade camera. So even in the low light situations, I can do a very good job with the equipment.

Abigail Div
You have to be an expert and knowing how to manipulate light as opposed to supplementing it.

Dirty Archangel
Correct.

Abigail Div
So great. Let's get into the execution. You must get this question a lot. But how did you get away with it? It's one of the most common one having also shot Street News and and very public spaces in New York City. There is an entire skill set that is necessary to shooting a very taboo material. From what I found, it becomes very much a spectator sport. people stop this area, they take their cameras out, they start shooting you as well. So there's a lot of coordination involved and not draw unnecessary amount of attention, as you're already going to get a lot of attention from it. Having models bound and suspended for bridges, or sending in the middle of the street in just an under best car set is sure to draw a few levels. No doubt. Do you have a standard setup or formula for shooting?

Dirty Archangel
No, it's totally improvisation. I mean, I go to a location I have a I have something in my mind. I set up the view, I put my camera and I let Sam and Gigi to decide what they're going to create in that field. Yes, and also the New York City is like, yes, the city that never sleeps. But I have my ways to find time and location that you're gonna run into. There are a few people, especially like you said, we go very early in the morning, you only have a couple of people going into, in and out of some way or just walking around. We try to get into a run into less people. So we have less panic. Yes, the New York City people, they, they are used to seeing every kind of weird things and on the street. But we kind of pushing the envelope here by also staying in the legal area. And like I said, in New York City, it's legal for a woman to be topless. So that's covered. And mommy decided to shoot if we're gonna do full nude, and it's just very quick. We wait for everybody to disappear. There is nobody around, we go nude, I take my shot takes like 10 seconds, and we switch back. So it's just about like, how we get away with it. We don't get caught. That's the thing.

Abigail Div
Yeah, shoot fast and shoot also with purpose, as opposed to playing, if you will, with your settings and your environment, which unfortunately, street photography, especially New York City street photography doesn't really lend itself well to well, location also plays a big factor, obviously, in terms of foot traffic, and and also how you conceptualized the shot. Do you go for the proverbial Empire State Building in the background? Or are you looking more for that empty side street?

Dirty Archangel
I did emphasize streets and whatever that background gives me New York City look. But we are in the process of moving our project to include more iconic landmarks in the background. So we did like the regular streets, you can see the new NYPD sign there that you are like anybody in the world when they see NYPD they know it's New York City. And mine included include the civilized little bit, it's all set. In one of the shots, we got the subway station in the background. So those are obvious New York City objects. But I've been trying to find location because once you start getting those kind of shots, I have to find really specific spots to have either are settling or Chrysler Building or any other buildings in the background. But we're planning to do those kinds of shots to

Abigail Div
Right and obviously it requires a lot of scouting, pre shoot to understand what angles you're working with, in capture iconic landmarks, especially if we're talking cityscapes with the person and that balancing point. Speaking of which, vary very nerdy question for you. What takes precedent, the landscape, or the model, as you were saying, you like to incorporate iconic architecture and features like the NYPD, into your photography. But how does that balance out with the model that you're also capturing?

Dirty Archangel
And they are so talented, and they can do anywhere. So that's why I pick the location first. For example, Central Park, the iconic everybody knows that bow bridge. So I get that view. I set up my view in my mind. I don't have to do too much. hypothetical thinking because I've been shouldn't lie You're more than 10 years. So I know a lot of almost every spot. So when I decide that we're gonna shoot here, I show Sam and Gigi what we're gonna shoot, and they just do their magic. They just need a light pole or traffic sign, anything that can be tied to. So they can work with, they can work with anything.

Abigail Div
Solid vertical structure seems to be a key then especially with if you're tying and biting. For this specific purposes of hanging. There, you have some very sturdy structures, which certainly New York has plenty of

Dirty Archangel
Concrete jungle.

Abigail Div
So speaking of shooting in the public, what's your mentality? Do you take it very laissez faire? Have you know, you come and I pass and I interact with the immediate environment? Or are you actively engaging with the public and

Dirty Archangel
I try to stay away from public. For example, I had a shoot with my model, a biscuit which on top of Brooklyn Bridge, again, I go there without, in the very early times of the day, even in my New York state of photography, I tried to exclude people in mind in your city photos, because I'm in love with the city. I love seeing those skyscrapers, beautiful views. And I bring my model into that view. And I just want my model in New York City. And that's why I try not to run into people too much. The less people the better.

Abigail Div
Because there's less certainly in terms of conflict. And I am sure that you have gotten a few choice words from the public, depending on what you're doing. Have you had any experience with overly negative commentary that has ruined if you will, the situation.

Dirty Archangel
We didn't have too much of bad experience. But for example, if I'm with my model, the you know, sort of people like I said, they use they're used to half naked women on the streets, that nobody better than I, when I'm with my model and shooting. But when we do the spider project, the shabari. And women in Rob, I don't know maybe it's received as something that degrading woman or something's in down to the woman. And we had a couple of interactions that especially from women, negative interaction, they're like, they think that they are doing something bad. But again, Gigi is very professional and very smart woman, she was able to explain at that moment, that it's not something bad, or it's just an art form, that you use rope, we had a couple of issues, but if nothing big, they just say something and keep walking kind of thing.

Abigail Div
Mmhmm. expressing an opinion and specifically within the the BDSM and fetish world. It can be easily misinterpreted in terms of the dynamic that you're playing out, especially since it's mainly non-verbal rather, especially because there's non-verbal communication that happens between the dom and his sub, or between the rigger and the person who's being rigged. And if you're not intimately involved in that world, it could be easily misinterpreted.

Dirty Archangel
Certainly, exactly. The society is has very distorted mistranslated ideas about BDSM or shibari practices.

Abigail Div
Well, hopefully it brings a little bit more to light about the beauty and the art form that it is by capturing it inside of these iconic locations. And some of them are pretty, exceptionally planned, such that they don't even look like they're real.

Dirty Archangel
Mmhmm, yes.

Abigail Div
So lastly, let's talk about this new publication of yours. It's a compilation of collaborative work you've done with models over the years, plus your street photography. The first volume in is a celebration of the work that you've done with one of your models biscuit, which as you mentioned before, finding trusting relationships feeds the creative outlet, which is very evident in the work that you created, and a full magazine to boot. How did you meet each other?

Dirty Archangel
Ah, we met through a friend, I was looking for some models. Yes, I work with a lot of models. But to me, having a one model, who's at the same level of creativity with creativity with me, and in the same frequency, who's eager to participate in my project is very important for me, then finding a lot of models to work with. I just found her on Instagram, and we had a mutual friend. And from the moment we started working together, we realized we are at the same frequency. Because no matter where I put her, she was so enthusiastic to work with me, either this Sixth Avenue in the middle of the rush hour traffic or Brooklyn Bridge. She's a very creative and talented person.

Abigail Div
Yeah. And again, finding good, creative, collaborative work is essential. What can we find in this new publication?

Dirty Archangel
In my magazine, I tried to combine my poetry with my photography, I always wrote poetry. When I started getting involved more in the BDSM community, I tried to express my feelings, my emotions, and my approach to edsm practices with my boyfriend. So also, my photography evolved around that poetry, because in my photography, I try to depict or create the scene in my poetry. So for example, I have a scene that somebody tied up trying to show the power exchange between diamonds sub, that's what feeds my photography. So in my publication, I combine these two, there are a lot of publication around there, solely focused on photography. But when you add, also, literature, poetry, it for me, it adds more depth to the feeling. Like I said, I'm trying to explain or give people more idea about BDSM. It's not just about dominating someone, it's not just about physical dominance, it's BDSM is power exchange between DOM and sub. My photography, and my poetry combines this perfectly in the new magazine and publishing.

Abigail Div
So it is truly multimedia. It is not simply for photography magazine, or literature magazine, it's more robust, pairing the two together,

Dirty Archangel
Correct.

Dirty Archangel
You've chosen also an interesting time to make a print media, as most media companies are moving away for print. So why go back to print?

Dirty Archangel
It's basically I'm an old school guy. So I'm gonna mean like this, I don't want people to lose at my art in their phone screen and just scroll back after five seconds. I want people to have my photos on their wall and look at that photo every single day, or have a magazine in their hands. And look at the lyrics look at the words that the photography and having that paper in their hands. Yes, the technology is moving towards mobile screens. But I believe print publications will survive for a long time. And I want people to have it in their hands, not on the like small screens.

Abigail Div
There is certainly something tangible and certainly different in terms of the experience that you have with the work seeing it in a physical format. Versus see it on your mobile device, your computer, your tablet, I would imagine that also plays into it in terms of the actual format,

Dirty Archangel
So many peoples still buys actual book, actual magazines. People still love that smell of the paper.

Abigail Div
This is exactly what I was thinking to in terms of purchasing print media is you know, you smell the binding and you smell the ink. And that for me is not only nostalgic, but it's it's enjoyable too as a part of the experience of reading or looking at the actual media.

Dirty Archangel
Also what are you gonna do when you're when you're out of charge? What are you going to do when the electrics are gone because of the storm and you just sit in your room? Oh, look, there are magazines.

Abigail Div
There always be a magazine at a hotel lobby. I've yet to see that become obsolete.

Dirty Archangel
Correct.

Dirty Archangel
Well wonderful and thank you Dirty Archangel for joining me today to talk about the Shibari Project and your new magazine.

Dirty Archangel
Thank you so much for having me. It was a genuine pleasure.

Abigail Div
And if you like what you hear, join me next week for another feature on Le Sex Lab.