S6, E5 Casey Orr | Portrait photographer

In this episode, we meet portrait photographer Casey Orr, whose acclaimed work explores identity, community, fashion, and youth culture across the UK. Best known for Saturday Town, her award‑winning, decade‑long project, Casey has photographed hundreds of young people in pop‑up portrait studios on high streets, capturing how style becomes a language of self‑expression.

Through her collaborative approach, Casey uses portraiture to examine “identity of self, of community and tribe”, revealing how fashion reflects shifting social values and cultural change. Saturday Town charts a vibrant visual history of youth identity from 2013 to today, celebrating creativity, resilience, and the evolving aesthetics of young people across towns and cities.

Episode recorded on 4 February 2026. 

Website: www.caseyorr.com
Instagram: @caseyorrphoto

Podcast details:
Podcast email: artiststalespodcast@gmail.com
Website: www.artiststales.net
Instagram: @artists_tales_podcast
Threads: @artists_tales_podcast

Transcript

I'd like to welcome Casey Orr to Artists’ Tales. She's an American portrait photographer based in the UK. Her work centers on identity, community fashion and youth culture. Best known for her project Saturday Town. She creates pop-up portrait studios on the high streets, inviting collaboration and celebrating individuality.

Welcome, Casey. Thank you. It's lovely to have you on the podcast. Thanks. I'm excited to be here. Well, yeah, I'm excited having you as well. So tell us a little bit more about yourself and how you got into photography, and particularly kind of capturing youth culture. Well, um, I picked up a camera when I was 15 in my art class, and basically I've, it just really spoke to me, the idea of, of being, documenting the world with a camera.

It's been a way that has kept me kind of present and a, you know, I feel like I'm very, like grounded when I'm with my camera. I have to like pay attention. So I find it like a, you know, it is just, has been my, my kind of mode of expression and of exploring the world since then. It's never really wavered and I, I, when I wonder about things, I think I like when I am, when I wonder, I think I wonder through exploring it through photographic portraiture really.

So I'll, if I'll wonder about, you know, a subject matter, I'll kind of think about like. Photographing people and having that be a way that I can find out things about the world. It was around 20, uh, 2012 and I started seeing young women in Le who had kind of like big hair and hair pieces and wigs wearing.

I was thinking, what are they, what are they doing? What is this fashion? This kind of like big hair fashion that looked like very much like it was a throwback to kind of like something from the 1960s or these kind of like beehive hairdos. And I just thought, what does that mean? What they're doing? What does it mean?

I decided, well, I'll, um, you know, I wanna find out, I wanna photograph them and find out and talk to 'em about what it is that they're doing with their kind of hairstyles and fashion. This became, what was Saturday girl? Saturday Girl was came before Saturday town and, um, I spent a year photographing young women in Leeds on Saturdays.

I wanted it to be, um, about how a young woman would be out and about. Um. On their like an au on on autonomous kind of moment when you're away from maybe school and work. Family and you're kind of out in town this idea of like, what do you, how, what do you wanna, how do you wanna present yourself and what does that mean for you?

How you identify. So I, so I thought Saturday afternoons were the best time when the, when you'd be this, um, you'd have like some kind of freedom of autonomy that you could be out and about. I wanted to photograph that. I wanted to photograph it through kind of style and fashion and presentation. So I decided that I would set up a pop-up portrait studio and, um, invite young, just go out and about and see who was out and see what people were looking like and invite people to come and be photographed.

So the project started like that, and it is documentary photography. It is street photography, but it doesn't have those aesthetics. So it's very much about like, who's out, what are people looking like? But I wanted it to have this like more, um, stylized look to it. I wanted it to have that feel of looking like fashion photography.

So I, I thought, and also, um, of course, like in the UK weather. You just never know what you're gonna get. It's like, so I thought, how do these things become, how does this become a series? How did the pictures like make sense from one week to another? And so this popup portrait studio became the idea around Saturday girl, and that then continued.

So I did that work for almost a year, and I thought, you know, oh, wow, I've really found out so much. I've talked to young women about their hair in a way that they wanna present themselves. This like really intimate, kind of like connection between myself and them. In the portrait studio, I had an exhibition where these, these original photographs in LEED that where they, they were blown up really big.

And I thought, oh, that's so interesting. I'm move, gonna move on now to whatever my next project might be. But then what happened was I did, I did the project, I was invited to go to Liverpool as part of the Look photography festival as it was then, and do the project there. And when I photographed in Liverpool, the sa, you know, Saturday Girls is how I was thinking about it at the time.

I realized that there in Liverpool, they were doing something different than the young women in leed. That in Liverpool they were, there was like a, a dialect to the visual language of presentation and fashion, and I just thought that is fascinating. They're doing something different in Liverpool, for instance, there girls do go out on a Saturday afternoon with curlers in their hair.

Like in Liverpool, everything is just like turned up to 11. The, the idea that you'd be out curlers in your hair is you're saying like, I've got plans tonight. I'm going out tonight, you know, and it's just, it's so playful and so like super colorful there, and I just thought, what, what, why are they, why are they kind of like even more?

Visually, you know, big in their presentation. Then in Leeds, I started thinking about like, what, what happens to people who live in a port city? How are you, you know, Liverpool is a port. It's very much like a city that where, um, you're, you're communicating with people who aren't of your culture. Like what does that, you know, what does that mean to how that you'd have a visual language of style.

And why would it be different in Liverpool, in Leeds? Why is there a dialect style? So I thought from then, okay, well I need to go everywhere in the UK and find out. This was the beginning of the project and up until really the pandemic, I traveled the UK with the portrait studio, photographing young women on Saturday afternoons.

Now, as that, as that project evolved and. It started to be, have a conversation with which with, uh, it was already having this conversation, but I started to just really understand that this conversation was evolving as was identity. And there be, there came a time around 20 15, 20 16 where more, like, more people identifying as male were coming into the studio.

There was this idea that maybe this, the binaries of what we're, you know. Girl, boy, male, female. They started to fall apart and this became a part of what the Saturday Girl Studio was documenting and I just thought it was incredible, like an incredible time to be out on the street photographing. So, so what happened?

Anyway, so I keep on thinking I'm done this project and it just keeps going on because young youth culture and young people, they just continue to, to evolve and to like offer something different. And identity is like wildly different than it was when I started the project. The project is now Saturday town.

And it really is about, I needed to kind of remove that word, girl. It became like, so, you know, it just is a loaded word. The project is now about all kinds of different identities. And of course, like some people, they may have come into my studio at a time when they identified as girl or a female or that might've felt right and that.

As they evolve and change that their identity changes. And I just was kind of coming up against that, like not wanting anybody to feel pinned down by a gendered word. So I'm still doing this project and I learned so much from it and it's, it's now Saturday Town and it's kind of there for everybody. That sounds really fascinating and you know, the thi probably a few things, you know, strike me.

But the one thing that does strike me is, and probably not surprisingly, you're probably capturing. The fluidity of not just identity style, who people are, can evolve over time, but society can evolve over time. Now it's kind of a segment of society, you know, of younger people and we probably see changes in identity or you know, if evolutions of identity, probably more strikingly in young people than perhaps older people by and large.

I don't wanna sort of say that categorically for everyone because everyone's an individual, but I guess it's kind of that, how did you navigate that collaborative working? How did you kind of approach people? Because I'm just thinking particularly when you are first starting out project's. Probably not that well known.

How did you kind of get people to sit for you? Yeah, I think that, that's like the big question in my life. You know, like, how do I connect with, how can I get somebody to allow me to see them, to co, to kind of connect with me for a moment to be photographed? And, um, I, you know, so I really think about what my presentation is and who do I, who am I in the world, and how can I be a person that people, how can I let them know that they could, that somebody could trust me?

It's the thing that I'm constantly, like, every time I, I feel like I'm super aware, but maybe also as a woman, I'm just really aware of like, what am I kind of saying visually about myself and how do I become, you know, approachable and trustable. But I also, um, I've always used. I use cards like invitation cards.

I always have cards with me that, uh, explain who I am, explain the project, and they have, they have, um, information so that people are able to find out more about, about the project and about me. So that's really like key to the project that I'm out on the street, but I'm not just approaching people. I'm, I'm kind of inviting them with these cards.

And then I think the other thing that is that. The studio is a space where you, if you step into that to be photographed, you are choosing to do that. So like you've been invited and if you choose to do that, you're actually physically walking into that like space that I try and make safe and magical and beautiful.

But it's very much the autonomy of like, I'm not stopping people on the street with my camera. I'm not photographing people, you know, from that vantage point, I'm very much like, it's very much an invitation. And I think that that, that to me is really important. That there's, like, I've, I've invited you, but you, you can say no.

Do you know what I mean? Like, if you choose to do that, you, you are, you know, you're choosing that. That to me sounds quite important because I'm conscious that you're dealing, or dealing is probably not the right word, but you're working with younger people and you know, I'm kind of conscious of what's happening in the world and some of the news, um, that's happening and, you know, I can un quite understandably kind of suspicions about strangers approaching vulnerable or younger vulnerable people.

I'm also conscious about consent, you know, particularly around pictures or recording or that sort of thing. So how do you actually navigate that? Because I'm also conscious you're putting on exhibitions of, you know, your images. Yeah. It's like, it's such a, um, it's such a difficult, like, mind field, gray area.

I mean, I always, and also the way that, that I communicate with people, it's constantly changing. So, you know, like, um, so what I do now is I have model release forms. I paper ones. The other thing is I've tried model release forms on a digital pad. You know, trying to make it like easier for myself. I dunno, all these different digital ways of consent, but I found that archivally paper model release forms and get people to read them and sign them.

Give me an email address that I can then. Send them a copy of the photograph. I always send everybody a copy and I tell people like, you know, if you're underage, show this to your parent. And then I, I send them the email, I email them the photograph. But I, I don't always, I often don't hear back from people.

I just have to, like, so often, I just have to trust my gut and I have to, um, if people ask me to not show their picture. I don't show their picture, but like I have, like, I've gotten it wrong and people have been included in things that they then don't wanna be included in. And so it's just this constant, you know, situation where I'm trying to kind of, I'm just trying to do right by people, but I photograph so many people.

Yeah, it's just so, it's just constantly like evolving. But um, and I think, you know, there's like, I think people are just so used to working in this kind of like flow of visual imagery. Themselves as like visual people in their stream of, you know, public facing, um, social media and, and like visibility. I wanna have those conversations with people, but it, it's often like, just moving.

It's just moved so fast. So, yeah. So it's just, yeah. I guess my answer to that is. I'm always trying to do the right thing and I'm never sure, like nothing is kind of solid with it. Like, so Yeah, it kind of feels like part of the project is also this, like how do you continue to connect with people and how do you communicate with people?

And you know, the other thing is, is like I could, um, photograph somebody who's 15 and I can send a, um, copy of their photograph to their, you know, school email address and say, show your parent. But then they could be in an exhibition in a two or three years later, and like, how do I make sure that they, that there's still that kind of level of consent.

It's um, you know, it's always something I'm scrambling with. It sounds like a challenge to be fair, but I'm sure you're navigating it at least as best as you can, and quite well, to be fair, another thing you touched on was social media, and I guess the, the thing I'm thinking of is kind of the impact of social media and increasingly people are kind of, you know, photographing themselves or live streaming or there's video of themselves and sharing that.

And I'm thinking, you know, even 10, 20, 30 years ago that. Wouldn't have been a thing. So am I right to kind of sense that that potentially has an impact on how people see consent or interact with you to try to get that their consent or their parents' consent? Yeah, I think when the project started, that was, you know, it was a very different world that we were living in and I think that me just kind of having this portrait studio.

I'm inviting people to come in and be photographed and to talk and to talk to me, and to kind of go, okay, this is different from, from that. This is not, this is a kind of different thing. So you welcome to this space. Let's like slow things down for a minute and let's talk, you know? And um, I just, I find that, that it like, it's very, it's like a really welcome.

Like they really get it. They're like, oh, this is different. From this thing where we're constantly photographing one another. And I think there's a kind of reverence to, um, to the level of like the equipment I use. Do you know what I mean? Like, so using like actual cameras and using lights and stuff like that, it's kind of signaling like, okay, we're doing something different.

Things are slowed down and they, they, they generally like, yeah, they do get that. But I guess, yeah, I mean there, once you have an image out there. It's out there. So, and that's something that they, that they need to kind of like navigate much younger than probably they are by the time I photograph them.

But yeah, I'm not sure how to end that because I don't, I think that so much about what I do is it's always changing and it's, you know, identity is constantly evolving and changing as is. The way that photography works and the function of photography and the, the platforms that photography kind of engages with.

It's this constantly, um, changing, evolving thing. Yeah. I mean, who knows if there's like a tipping point that's coming at sometime soon with all that. I guess time will tell. Yeah, it, it's, I think it's probably at this stage a bit hard to, to say, I mean, 10 years ago it would've been, you know, we're probably in the early stages of social media and we wouldn't have known where it sort of has taken us.

Yeah. Today. I wanted to ask you about when you are exhibiting the pictures kind of reactions, both from the people you're taking pictures of, if they come and look at or come to the exhibitions and look at the images, but also from society at large, like if other people coming in who perhaps haven't been involved or included in this, this project or your collaborative work.

Uh, well I think that that to. So, so I want to take pictures that make people feel celebrated and seen. I want them to feel wildly colorfully, visible in a way that feels good to them. And I think that comes across in the images. And I, and I know that for me to kind of say to a young person, I like, I see you and I think like you're amazing.

And you know, it could be like, I see you and I see you're. Like, I really see your gender identity. I see your, you know, I see who you are in the world. And if that can come through in an image, a person can, it can be like this moment, like a beginning of an empowering, you know, uh, moment that can lead to other things, other kind of levels of kind of feeling empowered to make other decisions in your life.

Like, I, I really do think it can be incredibly power powerful for somebody to feel seen and celebrated. So there is that, and then I think that. That to see the, the collection. So the collection is, um, at the moment there's, when I, I'm showing the work in Coventry at the Herbert Museum, that's opening up in the beginning of March, but that collection is 95 photographs from the, the time of the, the, that I've been photographing young people and I think the breadth of identity and the kind of playful, powerful like.

You know, fashions and youth culture that comes through is much broader and much more kind of beautiful and inclusive than a lot of people are realize, because we're maybe only given a certain amount of information through, through advertising and through things that we see, but we're actually like this in like this beautiful breadth of, of wild imagination that can be seen through the way that people are presenting themselves.

And I think that that can be very uplifting. And I do think that now in this moment to make art that feels like maybe it could bring joy and creativity is in is just incredibly important. That in itself, I think, and to create these situations. Oftentimes now I'm collaborating in the spaces that I, uh, that I work in.

There'll be workshops and there'll be opportunities for young people to get involved in the studio and sometimes publications that, that, um, young people, they can write for them. The publications that I do and all these different opportunities. And yeah, like collaboration is really important to the work and just, just to kind of give voice and visibility to the people I work with.

And, and I do think that now just that, that that can be in itself like a positive experience and that that is like essential right now. And with the work you're doing, both with the exhibitions and you know, taking pictures, but also the work you're doing with younger people, does that kind of spark conversations and if so, what kind of conversations or themes are coming up?

So, so it's interesting because I've been doing it for so long that I, I, I'm looking at what young, how young people are presenting themselves and I'm kind of like, I have to, just trying to read what is happening, what's going on, and how is it cha, how it's changing for, maybe it was last year or the year before, of course we had the pandemic and there's, there was loads of kind of.

Changes that, like came from that, like incredibly loaded time. But um, yeah, I feel like I can see things where I think, okay, I can see this sense of like, what is a, what's a 14, 15-year-old? What are they, what are they kind of showing me now that's different than a couple years ago? I feel like I can, uh, can see, and for me, that's telling me like, where are we going?

Where are we going? What are the values? What are the values of young people at the moment? Where is this heading for us? And uh, one thing that is really visible all across the board is I see people who are interested in like, non-institutional forms of like, belief systems of spirituality, of like pre-Christian, like understandings of belonging.

I see that a lot. So I see things that are like. You know, witchy things or like interest in like ancient civilizations and how that might come through in your fashion. Lots of like, you know, crystals and, you know, spiritual symbols, but people ident, well, people identifying as witches, which, which is basically an un, like a, uh, which is a, a care for nature, I think in and, and a kind of non.

Non patriarchal belonging, and I, I, queer identities are so incredibly wildly, hilariously inclusive and expansive, and that is just, you know, like a wonderful thing to kind of be a part of. I think that there's, there's a, there's always been this, I think, connection to animals, to the power of animals. This could be through like wearing fur, it could be through like.

Identifying with, you know, certain, uh, animal characteristics through makeup, through like accessories. Um, but even the kind of like wearing of a, of a, kind of a fake fur, fur, you know, kind of leopard skin. There's this kind of borrowing of animal powers that's, that's, but that has always happened. So it's just, it's interesting.

It's an interesting language to like, be a part of, to read. And, and it also like keeps me so that I am, if I'm going to document what's going on for young people through fashion, I need to just be like really curious. 'cause it's constantly changing. So that's a nice place for me to be. I'm, you know, I'm 57 and I, I love feeling just like.

I don't know. I am, I'm curious and I'm here to document it, but I'm kind of, you know, in service to like documenting what's happening, which is like such a nice open hard, it feels like an open-hearted way to live instead of like some kind of certainty. I don't feel certain, I feel very optimistic about young people and this is, you know, I get this from me and my camera, like running, like running around.

You know the north of England at the moment, photographing young people. And as you're talking, I'm also thinking, or I'm also reflecting on perhaps the reflection is, is a better word than thinking that without the curiosity, without the listening, without the, the inquisitive side of things, I do wonder whether this project would work or even whether this project would be completely different.

Yeah. I think that they could, they could smell, you know, I think they would be able to smell it out if I wasn't authentic, you know what I mean? And. I don't know how long, you know, I think, wow, will I just be able to, will they relate to me and trust me? Like, will they always do that? I think they know like a lot of the, like who I'm, who I'm more, who I'm really drawn to are the, all the queer kids and all the kind of like total wild identities in the LGBTQ AI plus world.

And I think that they, I just like, I see them as my tribe. These like. They, they know it and they know I am one of them. And, um, even though I'm so much older, they can just, you know, they can tell. And I just like, love that so much. But I'm also like, I'm pretty open to them at some point being like, okay, we're done with you.

Whatever. You know, I mean, that's just like the way of the world, but I don't know. It's just like, I just really, I just utter, I just delight in so many young people who I meet. I just think, you know, I, and they can tell. Do you know what I mean? So, uh, it's kind of like moved into a feeling of, you know, I'm doing, it's kind of like I am in, I'm in service to this thing and this thing where I am, I'm making visible people who they need to feel empowered and visible, and they also need to see one another.

And that, that is like. Forms, networks. It forms like communities. Like I, I, you know, I feel like I'm playing a small part in what could, what is a, you know, a world that's like turning more beautiful, not, you know, we're in this like crazy time right now, but I just think there that that beautiful creativity is gonna win in the end.

And I think the whole point about visibility is quite important. I was gonna say strong, but I think important is probably a better word. I think if you don't see yourself, then it can be quite lonely and isolating. Uh, it is so incredibly essential that you can see something that feels like you resonate with that.

It is so incredibly, um, important. So when. And I used to kind of think like it's a, it is a rite of passage that, that in Britain, in, especially in the northern cities, there's on a Saturday afternoon, you're like free from your institutions, your families, your school to go out into town, into the city centers and the shopping areas and promenade around and try out like who you wanna be.

That is part of a coming of age, um, moment. And I can remember doing it when I was growing up in like, you know, where I lived in a suburban place that was probably more conservative than a lot of places. But you go out and you like use that visual language to try and like, hey, how, you know, how does this feel?

Or like who, who am I connecting with? Do they have those vi visual signifiers that mean that we could be in community together? Is that like my friend or whatever? And that, that what happened in the pandemic that. Those places were gone and that that freedom was gone and that everything was shut and that everybody was, you know, stuck in their rooms.

And I really felt absolutely shocked because I, of course, nobody saw that coming, but I really felt like that was where that was. It's an important space of freedom, a Saturday afternoon. It represents the space of freedom. It represents a time of like finding out and like finding your people. And, and then at that time for me, I thought, okay, I'm, I'm, I'm ditching everything and I so that I can be out on the street when these young people come out.

This is like a hugely like pivotal moment. And what was happening in that time is that young people were then finding that connection in that community through social media, through Instagram and TikTok, and they. Yeah. Became even, I think, more kind of wild, more wild and creative because they were connecting with people who weren't in their local society.

They were able to like really push the boat out and find people like online who were, you know, like much more, um, niche than maybe they ever knew, or maybe my generation would've ever known. So that was, you know, when they came back out on the street when young people were able to be in the street. They were there.

They were there. You know, their towns were often shut. There are often like places that have generational, like decline within society, within communities, within towns. A lot of the towns in the north where I work, but these young, like creative people were out anyway, like looking cool and fun and you know, just, just out like the resilience of that is just so inspiring I think through, you know.

Through really hard times. I'm just so, I just, I'm so inspired by young people and their creativity and I just feel like I'm, what I'm doing is, is a, is in service to like, you know, to where we're going, where we're going in our, they're our future. And that's what I'm, yeah, I just feel like a very kind of, um, yeah, it's just a kind of like a very hopeful and hum like humble role in it.

And plus like I'm just having, so it's just so much fun and it sounds like you're having a lot of fun. And I was gonna say too, as you were talking there, what I heard, kind of going back to what you're saying earlier, you are seeing them and I think you're seeing them as young, you know, the young people in, in society for who they are.

And I think that in itself is really quite powerful because you're at an age where you kind of wanna be seen, you wanna be seen in a positive way. And you seem to be doing that, which is quite a powerful thing. Yeah, I think I'm just, I think because it is, what, it's kind of the, it's, it's the main part of what I do in my work life.

So I just feel very comfortable with like, approaching young people and just be like, oh my God, what, you know, that's so cool. What are you doing? What is this thing? And um, and generally they just like, they just know I'm, they just know I mean it, and that I'm. You know, I, I, I'm not like their teacher or whatever.

I just really do mean it. And they can, they just can tell. But whether, you know, I'm also, I'm open for them to be like, all right lady, we're done with you, or whatever. If that happens, I'll like move on. But at the moment, this is, you know, it is a very like, powerful way to spend my time. And, um, you know, I'm very, I'm just very grateful that like this work contin, you know, it continues.

My final question is, where do you see your work going? Do you think the project you're working on will kind of evolve over time or do you think, you know, you might move on to other things? Or are you open to whatever comes next? Yeah, I, um, so it's become more collaborative. Um, I love to, well, like, work with, if ever, wherever I'm working with arts organizations or other artists, I love to kind of connect with what that community is doing and make my project kind of make sense with what, with that place, with that location, with what those, um, what those young people are doing.

And I do a lot of stuff with. L-G-B-T-Q specific youth groups. I'm doing a lot of things with looking at archives at the moment, like with youth groups where we're using portraiture and photography, but also collage. I'm doing more like moving image and it's just really an interesting time because I just, I feel like I've, I just feel like I am confident and in the flow of my work, I'm up for.

Challenging myself. I am, but I just like, I just feel like I know what I'm doing and I know what I wanna do and there's like such a freedom in that. So, but just to be in the flow is also to be with the, um, uncertainty of like, creative process. And so I feel like, you know, it's kind of a hot potato. You just kind of like, kind of be with it in a light way.

And yeah, I'm just excited for, um, for whatever is, you know, happening next. 'cause because I am, I feel like I am, I'm, I'm not just kind of, I'm evolving as an artist. I'm like finding out about the world. I'm exploring things like with my, my tools. It feels, you know, when I think of like my camera, I feel like, um, I'm talking about my sacred tools.

And I'm here to kind of like document stuff and to, and to witness. I think that's my role to witness in different ways. And that's a, a hum a hum. A humble role to kind of like be with what's happening. Not to kind of oversee it or control it, but to be just present with what's happening and to. To document things as best I can.

So I, I just feel very, you know, lucky and excited to kind of, to be doing this work. Yeah. I, I really like what you said there, you know, to witness to be, because I think often. You know, there's pressure to keep moving and not to witness or to be, you know, present in, in the moment. So I, if anything else, I'll certainly take that away with me.

But yeah, no, thank you. It's been so interesting speaking with you about your projects and yeah, I hope to, to actually see, you know, an exhibition of, of some of your work because I've looked at it online then it does look rather incredible. Oh, thank you so much. I mean, I, I do have a, an exhibition at the Herbert Museum in Coventry that opens in March.

And um, yeah, I'm excited to be there because I'll be working with photographing, adding to the series, photographing and working with young people in that, in that area. And, um, I haven't done that before in that particular, uh, place. So. That'll be really fun to see what they're, what they're doing down in Coventry.

Yeah. And I'm sure you know that that will be a really good exhibition. Do you have any other exhibitions planned later in the year? Well, I'm doing some work up in, I've got some work that I'm doing up in, um, in, uh, cumbia. So I've been working on an ongoing series of portraits of, of Cumbrian, L-G-B-T-Q youth, and that at the moment is being exhibited there, but there's talk about that.

Moving on. So yeah, I tend to like do a lot of pop-up exhibitions, but I've got one that just is finishing in Stockport at the moment. At Stockroom. There's just a, it's an ongoing kind of, there's, yeah, there's always something, but the big one right now is, is Coventry and that's the kind of whole retrospective of the, of the work.

So, yeah. Well, great. Well, thank you. It's been really wonderful speaking with you. Oh, thank you so much, Heather. I've really enjoyed it. Thanks for tuning into my conversation with Casey. She really does capture the vibe and energy of young people in her work. More information on Casey can be found in the show notes.

In the next episode, I'll be speaking with Jo Stapleton. She uses traditional photographic methods to build constructed realities. You won't want to miss it.