ABOUT THE SERIES

“I learned silence from the talkative, and tolerance from the intolerant, and kindness from the unkind…” - Khalil Gibran

As a migrant living in Europe, I have often found myself relating to communities marginalized by mainstream society. This longing for self-identity and a sense of belonging has drawn me toward those whose identities challenge social norms—whose very existence is an act of resistance.

I have long been fascinated by a simple yet urgent question: Can a photograph rehumanize those who have been dehumanized? Dolls of the Valley is a long-term photography project that began in 2021, documenting the world of drag queens in Slovenia. At the time, no one knew when COVID-19 would subside, and weekly protests in Ljubljana against the conservative government had already been taking place for over a year. Riot police and tear gas had created a nerve-racking tension within Slovenian society—it felt as if something precious was slowly being torn apart. The first live Dragoslavia show—after months of online performances due to restrictions took place on a modest stage at the Metelkova City Autonomous Cultural Center on October 2, 2021. It was also the first time I photographed them. Onstage, the queens adorned themselves with colorful wigs and heavy makeup; offstage, the audience wore masks. In those strange and uncertain times, I felt a deep urge to uncover raw emotions and unmasked appearances, both literally and metaphorically.

Working on this project has only strengthened my belief that there is no “us” versus “them.” The Other could be my brother or my sister. The Other is me. A photographer stands alone when capturing an image, just as a viewer stands alone when observing one. In the act of looking, we enter an inner landscape—we travel inwards. For a few seconds, we are no longer part of a collective identity; we are simply human beings witnessing another human being, despite all the biases or agendas that may try to divide us. That moment of connection is invaluable to me.

For this exhibition at Mala galerija, I have intentionally removed all captions. I am not interested in presenting “facts” in my photographic practice, nor do I believe that de-labelling can be achieved simply by replacing one label with another. What matters most are the emotions and the untold stories revealed to the eyes of “the others.” I sincerely wish to offer visitors a sense of freedom—to let your curious eyes form your own narratives from the portraits of Slovenian drag queens and

kings. That freedom mirrors the very feeling they have pursued since the first time they put on their drag makeup: a longing to be free. It is an act. It is a statement. A question for whoever is reading this: How do you feel about that? What do we all have in common?

The Dolls are still out there, sweating under stage lights, their tears melting into painted faces—bold, fragile, defiant.

Believe it or not, the Dolls are us.

- Simon Chang 27 November 2025