Beyond Boundaries: Interview with Artist Tracy von Ahsen

Welcome to our first “Beyond Boundaries” interview series: honest conversations with artists who aren’t afraid to explore sexuality and identity through their work. Tracy von Ahsen opens up about discovering she was gay at 30, how that transformation shaped her art, and why she believes owning erotic art is about more than decoration. From facing unrealistic beauty standards to finding empowerment through female sensuality, Tracy discusses the real tensions women face in America — and how her collages became a means to heal and give other women the courage to see themselves reflected in art.

I (Interviewer): In your opinion, how does society in your country perceive art that explores themes of eroticism and identity?

T (Tracy von Ahsen): Here in the USA, it’s complicated. On the surface, people want to seem very open about sexuality and desire, but in reality, they’re more conservative. You have to censor yourself a lot. It’s a double-edged sword: in the media you’re expected to present yourself as a sexualized being, yet if you go too far, you’re judged. For women especially, there’s this contradiction: you’re told you can be independent, express your sexuality, be bold, brave, but at the same time, if you do that, you risk being oversexualized and not taken seriously. That tension is something I try to challenge in my work, maybe not always consciously, but through my practice.

I: Do you feel this has influenced your vision and approach to visual art?

T: As a lesbian, being drawn to female form, I’ve always wanted to empower it. When I exhibited at the Leslie Lohman Museum, the curator asked if my work might be seen as portraying the female body negatively. But I never felt that. To me, it’s about empowerment, not victimhood. My art reflects the idea that my body and sensuality are tools I can use to empower myself as a woman. I’ve never censored that.

I: Do you have a personal story or observation about how imposed beauty standards in your country directly affected you or your family?

T: I grew up with unrealistic beauty standards. Now, in my forties, I see the lasting effects more clearly. This obsession with being ultra-thin, for example. It made me afraid of being visible, even in the art world, and I had to work hard on my mindset to overcome that. I’ve also felt vulnerable around men in the art world, with sexuality projected onto me, often unconsciously. In America, you’re told to be empowered, yet you’re still held down by patriarchy. As a gay woman, I try not to impose boundaries on myself or my art. I want to show up in those spaces regardless. But I do think it’s harder for women to move forward in the art world under the male gaze, and that’s certainly true here in the U.S.

I: Which role do you think provocation plays in art, and should it ever be restricted?

T: Anything a human can feel can be expressed through art. Censorship doesn’t belong to art because art reflects our emotions and experiences. Of course, not every type of work belongs in every space, context matters. But there should always be safe spaces where all kinds of art can exist, because art is universal.

I: What has been the most daring or vulnerable moment for you in working with sexuality and identity in art?

T: For me, it was a huge transformation. I was married to a man and didn’t realize I was gay until I was 30. I loved him, which made it even harder to unravel my identity and face the confusion of growing up in a strictly heterosexual world. My art became a key part of that journey. As I began discovering myself, my work naturally centered on women and sensuality. One of my first daring pieces was an image of a girl receiving oral sex, titled Places Visited. Sharing that online was terrifying; it exposed my new identity to the world and forced me to shed my old one. But it was also liberating. Collage in particular helped me heal and process that transformation, and since then, I’ve continued to explore my sensuality and sexuality through art.

I: That’s very insightful, thank you for sharing. I agree that art can be healing, and that’s why it shouldn’t be censored, because everyone has different stories to tell, and different things they cope with and reflect on it through art.

T: Exactly. I’ve always felt brave enough to share my story because I know who I am and I’m not ashamed. I also share it for the women out there who are still married to men but might need to see this kind of story. That was scary for me too, I didn’t want to disappoint my husband or my family, though they were supportive. But this is what my art is about: giving someone else that little bit of courage or letting them see themselves reflected in my work.

Censorship doesn’t belong to art because art reflects our emotions and experiences.

Tracy von Ahsen

I: Can you name a particular artwork, either your own or someone else’s, that deeply shaped your understanding of sexuality?

T: That’s such a rich question. I’ve always been drawn to Egon Schiele and Cindy Sherman. Cindy Sherman, especially, influenced me a lot. Her work explored identity in ways that were sensual but not traditionally “beautiful”. Both she and Schiele found beauty in rawness, in darker sides of sensuality that feel deeply personal. Their work gave me permission to embrace that same rawness while still creating something beautiful.

I: One last question: how would you explain to a potential collector why owning a piece of sensual or erotic art matters beyond decoration?

T: Owning erotic art shifts the cultural narrative. Of course, a collector should feel personally drawn to the work, but there’s a reason for that connection. My art is part of a healing process, and owning such a piece can be healing for the collector as well. Having it in their home also broadens the conversation for anyone who sees it. In America, especially, we need to normalize discussions around sensuality. Platforms like ArousArt help do that, you make it easier for people to embrace and celebrate their sensuality, rather than hide it.

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