Talk to Me, Hairy Winston (2007) Editorial shoot for Flaunt magazine featuring jewellery by Gucci, Chanel, and Harry Winston. Each piece of jewellery came in its own suitcase, locked to the wrist of a guard. Therefore, I had six armed guards, in formal black suits, in my studio at one time. They were so good-looking; I was thinking about doing the shoot with them as models but opted for my original idea of using hairy bears – I don’t mean the kind that walks on four legs.
Rick Castro is an acclaimed American photographer, filmmaker, and artist known for his boundary-pushing work. Emerging from the vibrant cultural landscape of Los Angeles, Castro has made significant contributions to contemporary art and queer culture. His photography often explores themes of sexuality, subcultures, and the human condition, challenging societal norms and provoking thought through his raw and unapologetic visual style.
For SLEEK, he shares works from his personal archive, explaining why, in retrospect, he believes that these moments shaped him as an artist.
SLEEK: Can you tell us about your early life and what led you to pursue a career in photography and the visual arts?
RICK CASTRO: For as long as I can remember, I’ve had what some call a photographic memory. When I look at something, anything, I see the entire picture, visualise all the possibilities, and remember details. After working as a wardrobe stylist for fifteen or so years, I decided to create an image from start to finish. My first photo was taken in the summer of 1986. I was happy with the results, so I continued.
S: How would you compare your work now to your work back then?
RC: In the beginning, I experimented with various genres and topics – fetish, photojournalism, nudes, political themes, queer icons, BDSM, and fixation portraits. This exploration resulted in a substantial body of work, much of which has yet to be exhibited. Currently, I produce less work, but with more intent.
S: Is there a particular era or a period that was significant to you, and why?
RC: My most prolific period was the Nineties. During this decade, I focused on documenting male street hustlers on Santa Monica Boulevard, using black and white prints with noirish tones. Driven purely by obsession, I had no specific goal in mind. This can be a powerful motivator for an artist working on a personal project, as it is not rooted in the necessity to create income but only in the desire to create images.
S: Was there a time you grew the most?
RC: Although I’m old, I see myself as childlike. Is it possible to be both jaded and innocent at the same time? With that said, I’m still growing. My curiosity has never waned. I’m an adult baby.
S: Who in your life inspires you the most?
RC: I’m aware of some of my contemporaries and enjoy their work, but for the most part, I like the great artists of the past: Pier Paolo Pasolini, Pierre Molinier, Brassaï, Oscar Wilde, Tennessee Williams, Joris-Karl Huysmans, and Gilles de Rais.
S: How do you approach your career? Do you set your own goals, or do you take opportunities as they arise?
RC: As an artist, I do everything. I allow myself to consider all opportunities that present themselves through introduction and engagement, then choose what works best. Everything takes time, so I decide which projects are the best use of my time.
S: How do you balance your motivation in your art – do you practise photography to provoke or to normalise?
RC: I have no interest in being a commercial photographer – I worked that out of my system a while ago. My goal is to challenge the viewer with an idea that currently isn’t popular by presenting it as an established standard. Once the shock wears off, everything eventually becomes accepted as part of contemporary culture. The key is to still be around so you can be credited as the creator.
Caught Smoking (1993) A portrait of a hustler fresh off the street. One of my most iconic photos depicting the boy trade pre-internet. SM (Santa Monica) Boulevard was one of the most notorious streets in Los Angeles, eclipsed only by Hollywood and Sunset Boulevards.
Ledermister (1986) My first photograph, circa August 1986. After working as a wardrobe stylist for fifteen years, I decided to explore my own vision. During a fashion editorial shoot, where I was the wardrobe stylist, I took aside my recent discovery, an unknown future model, Anthony Borden Ward, and shot him in leather gear and a horse tail I fashioned from a wig. I was pleased with the results, so I decided to continue with my photographic exploration.
Tea Cup of the Fourteenth Dalai Lama (2000) I was commissioned by the World Tea Party to follow the events of the Sacred Music Festival of 2000. The festival’s grand finale was words of wisdom by one of the most sacred spiritual leaders of the 21st century, addressing an audience of seventeen thousand. This is the teacup used only once by the fourteenth Dalai Lama at the Hollywood Bowl. For me, this says more than a standard portrait.
Dior Homme (2002) Editorial for Flaunt magazine, Hedi Slimane’s first collection for Dior Homme. Shot in NYC, the silk satin suit was ruined by rope marks. Due to overregulation of queer content on Meta, every time I repost these images, I’m met with censorship and copyright bans, despite the fact that I’m fully credited as the photographer and there is zero nudity.
Portrait of Al Castro for Rick Owens (2014) Going against type, I decided to use four elderly men, including my then ninety-three-year-old father, as models for Rick Owen’s Moody collection LookBook in 2014. The response was positively overwhelming. In many ways, this shoot was more controversial than my BDSM images. It was shocking for the mainstream to see elderly men as sensual fashion icons. I will take credit for allowing the fashion industry to recognise beauty at all ages. By the way, my father turns one hundred and three years of age on 19 December 2024.
Montgomery Ward Takes a Ciggie Break (1995) Shot between takes during the first day of shooting, Montgomery Ward (Tony Ward) reclines languidly on a bed, post-sex with his last encounter, a John named Peter Festus. This became the Japanese poster for my first and only feature film, Hustler White (1996), a collaboration with Bruce LaBruce.
The Goddess Bunny (1987) A classic portrait I took of the Goddess Bunny at her residency on Morton Ave, Echo Park. I purchased her cutout teddy at a Playmates of Hollywood bargain basement for one dollar and covered an armchair with fake leopard fabric. My friend Richard/Wanda (RIP) created her hair and makeup. The fishnet stockings were hers. I think she looks a bit like Joey Heatherton. The Goddess loved this photo as much as I did. This was how she saw herself – like a glamorous Hollywood diva. She certainly always acted the part. The Goddess soon became a legendary trans* performer and icon, and she was one of the first to publish a viral YouTube video. The Goddess Bunny was the epitome of an LA eccentric.
Caligula’s House Party (1989) I attended the Mister San Francisco Leatherman contest at an undisclosed location on Folsom Street. As the only person allowed in with a camera, I was working with little to no light, so I opted for ambient lighting to catch the mood. This image shows an onstage unison pup rollover directed by a group of masters. The pageantry and sensuality were strong as overwhelming testosterone took over the room. The results are like a macho Busby Berkeley routine.
Lucious (2024) A photoshoot featuring the gorgeous model Logan Youel in clothing by Bottega Veneta, shot at the historic columbarium of Hollywood Forever Cemetery. It is the eternal resting spot for past, present, and future stars, including me.
The Last of Sympathy (2015) A portrait I took of my white kitty, Sympathy. By this time, she was deaf and pretty much just fur and bones. I believe I was able to catch the fading soul in her eyes less than one month before she passed.
Salvador (2019) One of my favourite shoots of the last five years. I spent the entire afternoon photographing this young man. I like taking my time with models who are creative. The energy of lust is palpable in my gaze.
Gore Vidal at Home (2004) After an engaging interview with Arte director Tim Lienhard, I had the pleasure of photographing literary legend Gore Vidal at his exquisitely decorated home in the Hollywood Hills. After our shoot, Mr. Vidal and I had a one-on-one conversation that impacted my outlook on politics. He also did a deft comedic impression of George Bush.
Credits
Photography & Notes: Rick Castro
Words: Polly Reiser
As featured in SLEEK 82 – BALANCE. Available in print and digital here.