For a year now, I have been gifted the opportunity to help create the most beautiful project. In 2023, I started to document sex workers out of fear that their histories would be erased because of the stigma attached to what we do. I came to the conclusion that death for a sex worker meant a loss not only for that individual but for the collective as well.
I eventually finished my first short film, F-cking Sober, in 2024, and the process changed me. Making the film and collaborating with Brooke Johnson—the star of F-cking Sober—convinced me that archiving sex workers’ histories through documentary is a powerful and accessible medium.
In late 2024, another community came to my attention that furthered my understanding of how stigmatization affects history. Each year, I went to an event called Wunderkammer, where participants blended life and death in a way I had never seen before. The artists came from all backgrounds but were mostly queer, young people who had evolved their relationship to death and reflected this evolution in their artwork. Circus and drag performances also took place and added to this celebration of life and death. It goes without saying, but this was my favorite event of the year! But in terms of historical erasure, it was really painful to watch each artist present their work to an eager audience and judges only for the story to end as soon as they exited the stage. There was no recording of their presentations. There were always pictures of performers, but both the artists and their stories added more complexity and left you asking more questions.
After my third year of being frustrated by the lack of documentation—and also having the fresh experience of making two docs—I reached out to Divya, the event’s organizer and founder— to ask if they would like to do some sort of storytelling project around the event with me. To my absolute surprise and joy, they said yes, and the rest is history lol.
Here are some pictures of this past year’s Wunderkammers.
In January of 2025, Divya (they/she) of Gotham Taxidermy and I had our first on-camera interview. Divya is a taxidermist but, more holistically, an artist, educator, and advocate for both people and animals. Previously, I had only known Divya through social media and Wunderkammer.
Like I mentioned, I was interested in documenting Wunderkammer, but Divya said something in our first interview that completely changed my perspective on the project and continues to guide the film a year later:
“There are a lot of reactions to death people have that they have towards sex work as well. I find those parallels really interesting. We’re the oldest profession in the book. People have been fucking and dying forever.”
In our conversation about sex work and taxidermy, it became clear how much both practices have in common in terms of stigma. Divya explained that death and sex are two of the most essential parts of human life, yet death work and sex work are some of the most stigmatized professions in our society. We still have trouble talking about sex and death even though they’re literally something all humans experience and have since the beginning of time. What’s more, I became aware that there was an opportunity to record the personal history of someone who is a former sex worker and who also practices death work. The range of their knowledge of humanity would be even more deepened and all the more essential to keep. Yet this person would most likely also face a lot of stigma and shame doing both forms of work.
The documentary I have been filming for the last year aims to tell the story of how death work and sex work are related and a taxidermy competition, artistic resistance to transphobia in the Trump administration, and the importance of environmental preservation. AND ALSO migratory bird death, queer joy, and a wolf/peacock hybrid. I could say more, but we gotta finish the thing!
Since our first shoot in January, the story has evolved and deepened in so many ways and has included even more beautiful people. The film is going to be very hard to edit but in the best way. I want to say more about the project—and I will in a later post because we are still in the midst of it all—but I wanted to plug our fundraising campaign for the documentary first!
Side note: I do have to say I’ve been feeling a bit weird and uncomfortable asking people for money, especially since the economy is so bad and there are countless causes to donate to that are more urgent (i.e. Palestine, people losing SNAP benefits, etc.). But art in response to the time we are living in, as well as highlighting the work and lives of people who are often de-platformed, is essential.
So! Consider donating! We’ve included some very sick rewards for different donation amounts. If you can’t donate, please send this to a person who you think would dig it or post on your socials! I can’t say it enough, but I am incredibly blessed to be in the position of collaborating with some of the coolest and nicest people I have ever met.
So if you read to the end of this post- the answer to the question is….
Stigma !!! yay!
DONATE HERE to our Kickstarter!


















