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But Bidgood could not be cowed; instead, he did it all, working as a window dresser, photo stylist, photographer, filmmaker, fashion, costume, and graphic designer with equal aplomb \u2013 his vision rivalled only by Busby Berkeley\u2019s Technicolor films. Unlike the Hollywood<\/a> director, Bidgood was woefully underfunded, though you might not know it from the spectacular productions built inside his humble apartment. <\/p>\n Kelly McKaig, Manager and Executor of the James Bidgood Estate, first met the artist in 1999, helping him to produce a benefit party for God\u2019s Love We Deliver at Bowery Bar in New York\u2019s East Village. Bidgood recreated the sets he used for 1960s shoots for Photoplay Magazine<\/em>, each room a hand-crafted fantasia of sequins and glitter. \u201cHe recreated the pan shot that\u2019s so famous,\u201d McKaig says. \u201cHe hand-painted the background, built the throne, and for the willow tree, we cut out 1000s of chiffon leaves. The best part was that all of the Go Go boys were from Honcho <\/em>magazine.\u201d <\/p>\n At 67, Bidgood had finally had his moment in the spotlight, his influence on reigning queer image-makers like Pierre et Gilles<\/a> and David LaChappelle simply undeniable. \u201cJim had a photo exhibit at Paul Morris, which was one of the first Chelsea galleries, he was being profiled in the New York Times<\/em>, and everything was going great, but I could see it wasn’t going to last,\u201d says McKaig. <\/p>\n \u201cI stepped in, not really as a manager, but just as a protector and somebody who wanted to preserve his legacy,\u201d he continues. \u201cI was able to get him food stamps and on Medicaid, help him pay his rent so he wouldn\u2019t get evicted, and just stabilise him. He was an artist, and the work came before everything.\u201d<\/p>\n<\/div>\n