About
My name is Kaiqui Macaulay. I am 29 years old, I am Brazilian and currently living in Seoul. I'm a journalist (FIAM-FAAM, 2017) and I have a master's degree in History of Art and Visual Culture (Universitat de València, 2019).
I was an intern at a PR agency in São Paulo between 2015 and 2017. Since 2020 I have collaborated with the Spanish version of the English publication GAY TIMES, where I had the opportunity to interview Spanish actress Daniela Santiago and some young Spanish designers who are breaking gender boundaries in fashion through their creations.
Throughout my academic career I have researched themes related to the intersections of the LGBTQIA+ community in society, more precisely in the cultural sphere, as well as the rise of queer theory studies and their role in the consolidation of non-normative identities.
I currently manage my own account on Instagram, Oil and Silk, which I dedicate to make small analyzes of the different relationships that can be established between the worlds of art and fashion. Fashion is one of my main personal interests. Since very early I have been following the specialized media. Through these channels I find out about various issues, from the latest trends presented in fashion weeks around the globe, to news related to the fashion and luxury market, as well as guidelines related to this universe such as sustainability and sometimes History itself of fashion.
As a result of my academic trajectory, I highlight my final paper, a culture and lifestyle magazine entitled Queer Magazine (link to the full publication).
In addition, I developed a master's thesis entitled “Representation of Dissident Bodies in Contemporary Brazilian Art”, in which I analyze the presence of artistic expressions that are classified as queer, dissident or non-normative within the contemporary Brazilian artistic scene.
In 2019, I was accepted to join the VI International Congress on Visual Culture, with a proposal entitled “Christian Iconography in LGTBI Visual Culture: Saint Sebastian and Jesus Christ Crucified”, where I analyze two emblematic cases of appropriation of Christian iconography by the LGBT community (due to the pandemic, the congress was canceled and I postponed my participation for the 2021 edition).
