Wedgies, published by Baron Books, documents the wedgie subculture through the lens of photographer Benjamin Fredrickson. This series showcases male subjects provocatively positioned and being given extreme or atomic wedgies (where underwear is pulled up above the subjects’ heads).
To coincide with the publication of the photographer’s first book, there will be a solo exhibition of Fredrickson’s series at CULTUREEDIT Gallery Los Angeles running from Saturday November 9th, 2024 until Sunday, January 5th, 2025, with a book signing (4-6pm) and opening reception (6-9pm) on November 9th. On view will be 30 photographs in varying sizes and a slide-show projection that encapsulate not only the final work, but an intimate insight into the creative process. To accompany the exhibition, Fredrickson will be releasing a limited edition run tees produced by Everybody, a limited edition run of three plates featuring his work, as well as a limited edition rug produced by Henzel Studio.
As an avid participant in the community, Fredrickson is uniquely positioned as an insider within the scene. His works go beyond documentation and possess an erotic charge which accompanies the artist’s own pleasure. He receives many requests from future participants via social media and is supported by those within the wedgie community. The agency of the sitters—even as they are dominated and objectified—is crucial to Fredrickson’s work, as they help to co-construct by asserting their own selfhood and desires. As described by theorist and S/M practitioner Michel Foucault, kink provides the opportunity for “inventing new possibilities of pleasure; a kind of creation, a creative enterprise’’. Fredrickson’s photographs go beyond the physical and affirm the artistic potential of kinky collaboration—the images are born from the sitters and photographer coming together to fulfill their desires.
Moreover, since Fredrickson is the one giving the wedgies (either with his own hands or using a series of elaborate contraptions to hold the underwear up) the images are shot from the dominant partner’s perspective. Sometimes the photographer’s shoes or crotch are visible in the shots, and this can lend the images a POV perspective that invites the viewer to ogle the bodies and wedgies on display and to become a third participant in the dynamic. The subjects face away from the viewer and remain anonymous, such that they are further objectified, and the focus is concentrated on the stretched underwear and the form of the sitters’ bodies. As Fredrickson states, “for this project the body is used as a prop in order to make the wedgie shine. The wedgie is the work”.
Since the ass is the vehicle for the wedgie it is naturally a focal point for the images. Butts have occupied a prevalent visual role throughout history. Fredrickson approaches the ass through a distinctly queer subjectivity, however, as the masculinity of his sitters is central to the aesthetics of the images and homoerotic lust is at the heart of the project. There is also an element of denial contained within the visual of the wedgie, as in the artist’s own words: “The wedgie leaves something to the imagination. You know that there is a butthole under the fabric just waiting to be pulled aside and exposed, but it’s not”. The literal tension of the straining fabric gives way to metaphorical erotic tension as the photographer and viewer long to see more of the ass but are ultimately denied the full visual.
Wedgie fetishes vary for each individual and can encompass multiple elements of a BDSM dynamic. At its core this fetish involves a clearly established power play between the giver and receiver of the wedgie, as in Fredrickson’s images where the photographer is in the dominant role. The wedgie involves both psychological and physical domination of the submissive partner, alongside a sadomasochistic aspect as the discomfort and pain of the wedgie are a source of pleasure for both participants. Since this fetish is tied to a schoolyard prank it also touches on aspects of bullying and degradation as well as subconscious desires from early development. The somewhat taboo nature of this kink further allows for an exploration of the close relationship between shame and desire. Wedgies also involve an aspect of bondage: in Fredrickson’s work, models are restrained by the wedgies they receive. For the medium of photography this arrested motion is particularly captivating— the subject is held in place by the taut fabric of their underwear as well as permanently bound in the still image of the photograph.
Benjamin Fredrickson: Wedgies – Solo exhibition runs at CULTUREEDIT Gallery (6757 Santa Monica Blvd, Los Angeles, CA 90038) from Saturday November 9th, 2024 until Sunday, January 5th, 2025.
Book signing: Saturday, November 9th 4-6 pm. Exhibition opening reception: Saturday, November 9th 6-9 pm. Read our exclusive interview with Benjamin Fredrickson.
Benjamin Fredrickson’s Wedgies is available to order from Baron Books.
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