PHOTOGRAPHY VS. PORNOGRAPHY. PART VII: Magic (Of) SEX Magick Episode 3 (part 2/2) - Queer Sex
Photo Archives of the Marginalia Obscene
There is a tendency to imagine sex magick as something involving candles, pentagrams, secret books and mysterious ceremonies. Those things certainly belong to the visual history of occultism. But the deeper idea is more provocative.
1. Satanic panic in the modern era-how conspiracy theories take hold in times of crisis. Canva Via The Conversation
2/3 @yung.torturedoll @just_existingbro #latex #latexfashion #latexcatsuit 2026 on Instagram / xiɿƚɒᴎimoᗡ Rin@feral_ferocious An Ethereal Dream and a Vampire Queen Shot at @theredcathedral by @demonlilinphotography 2026 on Instagram
Desire itself becomes a transformative force. The erotic image can therefore function less like a portrait and more like an invocation.
This is particularly powerful in queer photography because queer desire has historically existed in opposition to fixed categories of identity. The body can become costume. Gender can become performance. The photograph can become a place where forbidden combinations are temporarily permitted to exist.
4/5 xiɿƚɒᴎimoᗡ Rin@feral_ferocious Ethereal Dream and a Vampire Queen With@rubberfantasyx, Corset by @latexcharms 2026 on Instagram / @feral_ferocious wear by @broke_boutique, photo by @priscilla.jdarko at @theredcathedral 2026 on Instagram
This is why the history of queer photography intersects so naturally with Surrealism, fetishism, drag, body art and occult imagery.
6/7 @yung.torturedoll with @feral_ferocious 2026 on Instagram / @yung.torturedoll Reading up on my lesbian vampire biting techniques 2026 on Instagram
The figure of Baphomet is particularly useful here because its cultural history demonstrates how easily symbols migrate. In modern occult imagery, Baphomet is commonly represented as a hybrid figure incorporating masculine and feminine characteristics.
The image has therefore become an obvious symbol for artists interested in ambiguity, contradiction and the collapse of binaries.
8/9 @yung.torturedoll Divine Blasphemer photo by Queer artist Emma Wondra (@wondrashoots) 2026 on Instagram
For queer artists, the monster can become strangely liberating. The monster does not have to choose.
The queer erotic image can combine masculine and feminine, sacred and obscene, beauty and grotesquerie, pleasure and fear. It can deliberately make the viewer uncertain about what they are looking at.
10/11 Emma Wondra (@wondrashoots) with @yung.torturedoll in chicago 2026 on Instagram / @yung.torturedoll Fuck the world I bend the spoon with my mind photo@jisobeldelisle 2026 on Instagram
The studio can become a temporary sanctuary in which conventional identity is suspended. Clothing is removed or transformed. Costumes appear. Bodies are rearranged. Lovers become collaborators. Mirrors multiply the self. Masks conceal one identity while producing another.
12/13 xiɿƚɒᴎimoᗡ Rin@feral_ferocious An Ethereal Dream and a Vampire Queen Shot at @theredcathedral by @demonlilinphotography 2026 on Instagram / A walk through Berlin with @rubber_femme during the @gfbweekend.official
Before Steven Arnold and other queer artists transformed eroticism into mythology, it was the infamous Aleister Crowley who transformed sexual taboo into one of the most notorious forms of occult theatre in modern Western culture.
14/15 Campaign for BACCH ANAL, an unholy communion-themed club event presented by Nark and Massive in Seattle, Washington via Tixr
Crowley remains an irresistible figure partly because he understood publicity before publicity became an industry. He cultivated his own reputation as a scandalous magician, sexual adventurer and enemy of respectable morality, and subsequent generations did the rest.
16/17 Veropet, Sermon on the mount by Élisabeth Ohlson Wallin from the series Ecce Homo via Auction Net / Élisabeth Ohlson Wallin's Jerusalem (2010) exhibition marked a deliberate, somber shift from the inclusive compassion of her groundbreaking 1998 project Ecce Homo
When Elisabeth Ohlson Wallin released the exhibition Ecce Homo in 1998, it was a gospel of joy she wanted to spread. Now comes Jerusalem. A pessimistic picture of what “hateful” textual interpretation of the Abrahamic religions means for LGBT people and women (via QX Förlag.Se)
By the time the Beatles placed his image among the famous faces on the cover of Sgt. Pepper's Lonely Hearts Club Band, Crowley had become less a historical occultist than a cultural symbol of forbidden knowledge.
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Click HERE the article "The Art of Gori Mora: When the Surreal Meets the Queer"
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