Stories

Reframing sex work

  • Series
Artwork made up of a black and white photograph of a female figure from behind, from the waist up, against a black background. Her arms are held above her head and her wrists cross, fingers extended. Embroidered into the photographic print with grey thread is a crisscross floral pattern which exactly covers her head and hair. Across her back, embroidered in silver thread is a large triangle connected to a smaller triangle. Either side of the figure are two large curved forms made up of a layered texture of dots.
Sex work, stigma and whorephobia. © Jessa Fairbrother for Wellcome Collection.

Dr Kate Lister invited five contributors to share their diverse, profound and often heartbreaking personal experiences of sex work, with each reflecting upon how the stigma of sex work can have a significant impact on sex workers’ mental health, on their place in society and on their physical safety. The result is a series of unique perspectives that question the political and societal reluctance to legitimise sex work and how it might better protect those who are the most vulnerable.

Artwork made up of a black and white photograph of a female figure from behind, from the waist up, against a black background. She is bent over to the right in a dancerly pose. Her arms are held out to either side, her fingers are curled in a graceful fashion. Embroidered into the photographic print with muted yellow and grey coloured thread is a crisscross floral pattern which exactly covers her head and hair. Directed into her back from the top of the image is a copper coloured shard painted in metallic paint. Under her left arm is a circular shape made up of copper coloured textured paint. Above her right hand is a large circular shape with holes in the centre, made up of a layer of textured grey dots.
  • Article
Being trans in the world of sex work

Unstable. Predatory. Risk takers. Dr Adrienne Macartney sheds stark light on the hostile and negative assumptions faced by trans sex workers.

Artwork made up of a black and white photograph of a female figure from behind, from the waist up, against a black background. Her arms are held out straight to either side, her fingers are outstretched. Embroidered into the photographic print with yellow and orange coloured thread is a crisscross floral pattern which exactly covers her head and hair. Across her back, in a copper coloured textured paint is a large triangle. In front of the figure is a large rectangular frame made up of a layered texture of grey dots which forms a doorway. Either side of the figure are long copper coloured shards made in metallic paint which seem to be reaching out to tether her arms.
  • Article
Surviving sex work on the streets

In care at four, on the streets at nine, Charmaine has had a traumatic journey to reach life as it is now: no drugs, no sex work, looking after her mum, and enjoying her grandchildren. Here she writes honestly about her past.

Artwork made up of a black and white photograph of a female figure from behind, from the waist up, against a black background. Her body is twisted in a dancerly pose, her arms are held out to either side. Her left arm is bent up above her head, hand outstretched. Her right arm is bent down to the ground, hand outstretched. Embroidered into the photographic print with yellow, white and grey coloured thread is a crisscross floral pattern which exactly covers her head and hair. Floating above her left hand is a circular shape made up of copper coloured small dots which are painted onto the print creating a three dimensional texture. To the right and below her right hand is another large circular shape made up of a layered texture of grey dots which are painted onto the print creating a three dimensional texture.
  • Article
Sex work and critical campaigners

When campaigners filmed secretly in the club where she worked, exotic dancer Ella Smith felt frightened and degraded. Here she speaks out about the attack on her livelihood.

Artwork made up of a black and white photograph of a female figure from behind, from the waist up, against a black background. Her arms are held out straight to either side, her wrists and hands held up indicating a stop action. Embroidered into the photographic print with yellow and orange coloured thread is a crisscross floral pattern which exactly covers her head and hair. Across her back, embroidered in a copper coloured thread is a large thin vertical rectangle. Surrounding the figure is a large ellipse made up of a layered texture of dots which forms a protective barrier against sharp tooth like forms approaching the barrier, also made up of layered textured dots.
  • Article
Selling sex and sacrificing safety

Sex workers who report crimes against them can face a “what do you expect?” attitude. But one organisation is working to protect vulnerable people in the sex industry.

Artwork made up of a black and white photograph of a female figure from behind, from the waist up, against a black background. Her arms are held above her head and her wrists cross, fingers extended. Embroidered into the photographic print with grey thread is a crisscross floral pattern which exactly covers her head and hair. Across her back, embroidered in silver thread is a large triangle connected to a smaller triangle. Either side of the figure are two large curved forms made up of a layered texture of dots.
  • Article
Sex work, stigma and whorephobia

Like everyone, sex workers sometimes need medical or mental health support. But shame and stigma seriously affect attitudes and access.

About the contributors

Photograph of Dr Kate Lister

Dr Kate Lister

Editor
@WhoresofYore

Dr Kate Lister is a lecturer at Leeds Trinity University, where she researches the history of sexuality and curates Whores of Yore, a project exploring the history of sexuality.

Photograph of Jessa Fairbrother

Jessa Fairbrother

Artist
jessafairbrother.com
Jessa on QEST

Jessa Fairbrother is a visual artist using photography, performance and stitch. Her long-term investigations revolve around subjects of yearning and the porous body. Her work is held in numerous private and public collections worldwide, including Tate Britain, the V&A, the Yale Center for British Art and the Museum of Fine Art, Houston. Her work is represented by the Photographers’ Gallery, London and AnzenbergerGallery, Vienna. She is also a QEST (Queen Elizabeth Scholarship Trust) scholar.