Daniel and Fred engage in a conversation with renowned photographer Robert Andy Coombs, a Yale MFA graduate whose work highlights graphic yet tasteful queer disabled intimacy through his candid and unapologetic self-portraits. The trio discusses the nuances of disabled intimacy, the challenges of incorporating carework into photography, and the absurdities of navigating state-provided carework.
What if everything you thought about disabled bodies and sexuality was dead wrong? In this raw and radically honest episode, Daniel and Fred get intimately real with photographer Robert Andy Coombs, a Yale MFA powerhouse whose provocative self-portraits explore the erotic, emotional, and unapologetically sexual side of queer disabled life.
Robert doesn’t just pose, he seduces, challenges, and redefines what sexy means. Together, we dive deep into care-work as foreplay, navigating desire with dependence, and how disabled bodies aren’t just desirable, They’re Effin' iconic.
Learn about the seductive power of vulnerability and trust, why disabled people make damn good lovers, turning carework into connection—and sometimes kink, breaking taboos around pleasure, touch, and representation & making art that turns you on and makes you think
This isn’t about inspiration—it’s about liberation. It’s hot. It’s honest. And it’s time.
Watch the video version on YouTube
Chapters
Guest Bio - https://www.robertandycoombs.com/about
Coombs grew up in Michigan's majestic Upper Peninsula where he spent his childhood roaming the great outdoors. He started photographing his walkabouts in middle school and moved on to portraiture in high school. Coombs received a scholarship to Kendall College of Art and Design in Grand Rapids Michigan. During his third year in undergrad, Coombs sustained a spinal cord injury due to a gymnastics training accident. After a year of recovery, he returned to KCAD and received his BFA in photography in 2013. Coombs' photography explores the intersections of disability and sexuality. Themes of relationships, caregiving, fetish, and sex are depicted and explored throughout. Coombs graduated from the Yale School of Art with his MFA amidst the COVID-19 pandemic and is currently residing in coastal Alabama.
Hold on and 3, 2, 1.
It's Danny and Fred. They have a Crip Trip podcast.
This podcast contains strong language
and adult themes that may not be suitable for all audiences.
Danny and I are in Edmonton chatting over Zoom
with our guest Robert Andy Coombs, who's in coastal Alabama.
Hello everyone, and welcome to another episode
of the Crip Trip podcast.
Today we have with us a prolific photographer,
Robert Andy Coombs, who we met up
with in Chicago
Under very crazy circumstances.
They were very difficult, but we managed, we were like,
we are meeting you no matter what.
The RV broke down. Danny didn't have his power chair.
It was 11 at night
and it was the, a weird bar,
but you know what? We made it happen.
Yeah, yeah. And we're moderately less strung out now,
so thank you for making the time to meet up with us today.
Yeah, of course. Thanks for having me.
Absolutely. Yeah.
So today I kind of wanted to facilitate a little bit
of a conversation around, you know, disability and intimacy,
and I thought, who better than Robert, who's, you know,
artwork bleeds with both those things,
You know, um.
Can I, um, can I just start this off by just asking,
could you give us a little bit of background of, of
how you got into photography in the first place and,
and just a bit of that sort of career background.
Yeah, I can definitely do that.
I was always a creative kid. I was always making something.
Painting wasn't good at drawing, but like,
or like, like finding like wood chips and,
and acorns and little leaves
and like making little sculptures for my grandma or my mom
or, you know, I was just always making something.
And in middle school I had asked
for a digital camera
and my parents got me one
and I started just like, kind of
going on different walkabouts in the woods
as one does when you live in the upper
peninsula of Michigan.
So I didn't really know like compositionally like
what I was doing or anything like that.
I just knew it kind looked good. Yeah.
And then I started
photographing like parties and friends in high school
and I decided
to go against vocal performance.
I, I really loved singing and being on stage
and loved acting.
So like musical theater and, and plays and stuff like that.
And then, so in my senior year when I like
decided against it, I, I took like multimedia classes,
which was like digital photography and video
and, you know, learning Photoshop and,
and all that, all that stuff and
my art teacher,
she just kind of told me like, you know,
if you wanna be serious about this, you need like 10 pieces
for a portfolio.
And yeah, she just kind of told me what I needed to do.
So I did it and presented it at, you know, our end
of the year art show
and ended up getting a scholarship to Kendall College of Art
and Design in Grand Rapids, Michigan.
Nice. So,
and then I went for graphic design
for the first two years.
That was my major. But then I,
I took a minor in photography in my second year,
and then I switched to photo my third year.
And that's where I really like fell in love with the medium.
'cause I was doing like, large format color, dark room,
so like, you know, four by five along with like, being able
to print my own color prints.
'cause I, I,
I'm not a big black
and white kind of guy. I see in colour
and I love, you know, incorporating colour
and the vibrancy of it.
So yeah, that's, that's where I fell in love with,
with photography or how I got into it.
Yeah. And yeah, the like
black and white was very much a pragmatic choice
on the road for us, right? Like, you know,
Because we could process it. Because it's easier
Yeah. Developing on the road, it's already dirty
and cross-contaminated. Like, we're
already breaking We couldn't have done colour.
Not, no. No, not possible.
(Danny and Fred laugh)
We, we did not have the shelf space.
But yeah, I, I agree.
Like I love those, those warm tones
and, you know, when, when colour really hits it,
it add something beautiful.
Can, can. And just for people watching this
that maybe don't know your full career, can you walk
through just a little bit of
what your practice has been in the last, you know, five,
10 years and what, what
and some of, some of your achievements?
Yeah, absolutely.
I, in my third year
of college, just
after I turned in, like my final portfolio,
I was a gymnast training a double back flip on a trampoline
and ended up like falling 10 feet under the back of my neck.
So I instantly knew I was paralyzed
and like I was awake the whole time,
which was really interesting.
Didn't, there was no pain and I,
it was just like a beautiful Michigan spring day.
The sun was shining, birds were chirping
and I broke my neck.
So once I
got out of the ICU
and into rehab, I quickly learned during the,
the independent living classes,
'cause they, they like teach you about your new body
basically and how it works
and, you know, different, different things of how
to take care of yourself.
And so the topic of sex came up,
you know, as it does.
And I quickly realized that my
medical professionals were just ill-equipped
to talk about sex as a single gay man.
So I had all these questions
and they did not get answered, to say the least.
And so after a, I spent a year at home with my parents
and then decided to go back to school for photography
and went back to Kendall.
And that's kind of
where I like submersed myself in the dating scene.
And, and it was a lot of like trial
and error, trying to figure out my body sexually.
And so I scoured the internet
basically looking for any representation of disability
and sexuality
and specifically when it comes to like
gay sex.
And yeah, just had to do a lot of my research and,
and found that there was like little to no representation
of disability and sexuality.
So I like right then
and there I was like, I am like
literally sitting on a gold mine of
subject matter.
So yeah, for the past
like 10 or so year, I graduated in 2013
and didn't really photograph for about five years.
And then when I was applying to grad school, I
started making my work 'crip fag',
which takes two derogatory terms, crippled and faggot
and, you know, combines them together and uses it
and, you know, just kind of subvert it
and use it as like a, a term of, of power.
And yeah, I, I went,
I got accepted into a few different schools,
but I got accepted to my dream school,
which is Yale University.
They have like one of the best like, art programs
and photography programs.
And then I graduated in 2020, so it was a two year program.
And yeah, I've
got a few awards under my belt, a few solo shows,
and I got some like,
exciting things coming up, which is great. So,
So I, when you were, you know,
first interacting with the, you know, intimate portions
of your creative pursuit, did that proceed
or follow you starting to become intimate
after, you know, acquiring a disability?
Like, did, did the art help you get more comfortable in
your own skin?
I've always had like a really good relationship with
how I looked and my body.
I was always a really confident person
and that definitely did not change after I broke my neck.
I still love the way I look
and yeah, I've just,
I've always had a really good positive like body image.
I don't know why it didn't change,
but I'm just like, I still look fucking hot. So, and,
(Danny and Fred laugh) And, uh
and so like, I knew that I like would be able
to push myself as, as far as like, subject matter
rather than, you know, trying to find someone
for a particular image that I wanted to do.
Just 'cause like I, I'm pretty open sexually
and, you know, I'm kind of willing to
put myself out there rather than kind
of just use someone else.
I guess I, I, you know, like when I, I I'd rather like,
you know, inspire the next generation to like, you know,
people wanting me to photograph them
Mm.
You know, in a more boudoir
or like sexual way.
So I, I thought, you know, like, I'll do it first. Yeah.
And then like, and then they will come so
Well, and yeah.
That, that's one way to inspire that vulnerability.
And that's something that's always intrigued me about your
work is I'm like, how does he, you know, broach people
coming into these like, very vulnerable situations where,
you know, it's overtly sexual.
Like what's that conversation like?
How do you typically find people to?
Well, what, when I was applying to grad school
and like, you know, just beginning the work
living in Michigan, I really had to do a lot of like,
self portraits with no one in them.
So it, it was very, a lot
of like isolated photographs of me, like working
through Yeah.
Just kind of like that body image, what it looks like for me
to be out of my wheelchair
and kind of playing with that notion of wheelchair bound.
Like I'm not bound in my wheelchair,
it's like an extension of my body.
Like, I'm so grateful Yeah.
For my wheelchair because I wouldn't be able
to do anything or go anywhere.
Yeah. And yeah, just kind of like
a lot of technology that I incorporate in my daily life,
different surgeries I've had to like, adapt myself
to kind of become more
independent and more,
(pauses)
the word is kind of like
just yeah.
To, to adapt
and kind of make myself a little bit more self-sufficient.
Yeah. So, yeah.
Can I, can I ask about the, the sort of technology
and the physical side of doing the photography?
'cause with Danny, we did a whole bunch of photography
with like really old out of date equipment
and it was pretty challenging.
'cause Danny is like, rewind it, like this, do it like that.
And I'm like, oh my goodness.
I don't have the, the experience,
the tactile experience to do these things.
It was quite the learning curve, you know.
And so in your practice, how,
how do those partnerships work?
How do those teams work to, to get such, you know,
award-winning stuff?
How do you do it?
Absolutely. Yeah. Well, I mean, it, it takes a village
any, I, I feel like any artist
kind of has their own creative group
and especially like commercial artists, like,
you know, a lot of, like, you think of Andy Warhol,
like he had a whole factory
of people like making his artwork
and then, you know, he would like put the finishing
touches on it.
And like, that still goes on today.
Like there are, there are painters with a lot
of like painter assistants
who like will do a majority of the work.
And then, you know, there's coons.
Yeah. Yeah, Yeah.
And then there there's that joke that, you know, that
the, the artist comes in and,
and ruins all of the, as the assistant's,
the assistant's work. (Fred and Danny laugh)
And, and like, that's no different than like a photographer.
Like, you know, people, you know, like one of my
professors at Yale, Gregory Crewdson, he,
he has lighting assistants, you know,
he has photo assistants.
Like, so it's, it's all of these, you know,
large, you know, it,
I don't, I don't necessarily have like large photo shoots,
but not yet anyway.
But yeah, I, I started working with an assistant
like friends and photo assistants when I was in school.
Other, other students were able to get paid
to be like one of my assistants.
So that was really cool.
And I always kind of worked creatively
with friends beforehand.
So I, I've taken a lot
of self portraits previously
to my accident and, you know, always had friends.
So it, I mean, it kind of just came naturally with,
you know, what I wanted to do.
So, yeah, it just, I take a,
a very directorial role when it comes to
my photo shoots specific,
especially like when I'm in the photo, like modeling
and I am yeah.
Just kind of doing it all.
But I also, you know, like work
with mounting a camera on my wheelchair and um, yeah.
Well, and you Like actually
like, photographing myself so
Well, and you still use a lot of analog too, right?
Yeah, I mean, for, for a certain thing I've tried digital
for like my street photography
and I just found myself like just clicking
everything and then it's like, I don't know, I just,
I'm not, I'd rather wait for the right moment
and like, you know, just kind of hoping that I get it.
Yeah. And then once I get
the film back, then I'm like,
oh yeah, like that turned out great.
Yeah. Rather than just like,
photographing a ton of like
hundreds and hundreds of pictures
and then having to like Sort through it.
choose one?
Yeah. Yeah. I'm just
I like the Polaroid, that was cool when you pulled out a
Polaroid and we put those Polaroids up in the RV that was
haven't used Polaroid in 20 years. Very cool.
Yeah. How did they turn out? Great.
I didn't get to see 'em after they like
fully developed, so
Yeah. I'll have to scan some.
They, they're a part of the living artwork
that is, The RV.
The RV. Yeah.
We ended up putting up a lot of our artwork just using
like IKEA lights on the outside.
And then, what was the tape?
It's like some really tough tape that we just like, you know,
Wemounted on board.
Oh yeah. We, reverse, reverse-sided mounting tape
and we, so we mounted all of our photos on mounting board
and then mounted them all on the outside of the RV.
And then we screwed in IKEA,
little spotlights above them all.
And like, I, I think we did a pretty darn good job at making
like this, turned the RV into like a multimedia exhibit
with a wheelchair on top
Yeah. With string lights
all running into our like, internal generator.
Like, it was, it was a little,
it was a little experience. The public could walk through
and see where you developed the photos. It was,
it was neat.
Yeah. And where, where was that again?
So we pulled up on a really busy street in Toronto
is what we Oh, okay. Yeah.
So by the end of it we were, we were looking
for gallery, but the thing is, galleries
and doc kind of work on separate timelines,
whereas galleries are like,
we're booked two years in advance
and doc is like, you have three months to make us a thing.
And you're like, okay. I guess
the pre-production starts now.
Yeah. So the, the differing timescales really kind
of threw a wrench in the works,
but we ended up with a really cool kind of mobile exhibit.
Yeah. And I think it worked for our intentions,
Yeah. Of doing something rogue in public, like
that was very in line with our attitudes
And we got very like a lot
of traffic despite it being like a long weekend Monday.
Oh, nice.
Like we got, we got quite a lot of foot traffic. So
I'm assuming you took pictures of that, right?
Oh yeah. Yeah. It, it'll be in the
documentary which we'll, we'll send you.
It'll be cool. Yeah.
We've got a little bit of archival here and there
and we'll take freeze frames,
Yeah. from the doc as well
and yeah, that's all going in my portfolio.
(Danny grunts then laughs)
That's awesome. Yeah.
So what, what has the response to your work been?
What, what, what do people say when they encounter it?
I mean, overall I would say it's pretty positive.
You know, I do get a, a few raised eyebrows depending on
if it's like a group show or not.
[Daniel] Mm-hm, mm-hm.
And I mean, it varies.
It depends on the show
because, you know,
I don't particularly want my work
to be seen by kids obviously.
'cause it's not for them.
So yeah, it just depends, like in the show that I'm in,
I guess if it's more family friendly then you know
it, you know, it's, I have to kind of
choose, you know, what, which images?
Well, the, I mean, it's also
up to the curator too, but. Yeah.
But, um, but yeah, I, I,
I feel like I haven't really got
too much like negative press.
I mean, everyone has a comment online
and it's kind of fun to read those, but
after a while it's just, they say the same things
and it's like, okay, if all you see is sex in my
photographs, then you're missing the whole point.
Yeah. You're not looking at 'em hard enough for sure.
There's so much compositionally
and the lighting and the tone.
Right? Like, there's so much to unpack in your work.
And that's what I really enjoy about it.
Do you notice? I dunno like,
it's just like a lot of the subject matter like,
nobody's seen it before.
Yeah. Unless you,
like you live the experience, you know,
Well, yeah.
Yeah. And yeah, that novelty really, really draws people in.
Have you noticed any differences in
how able-bodied people look at it versus
how disabled people look at it?
Well, yeah, like I, a lot,
I would say the majority of like able-bodied people
definitely are a little,
(pauses)
like (pauses)
surprised I would say. Yeah.
You know, it, they, they really have to
(pauses)
work hard at
uh (pauses)
kind of dealing with what is going on
in the photographs. [Daniel] Mm-hm.
So I would say a lot of people
learn a lot, you know?
Yeah. And as far as disabled people, it's,
you know, I've, I've had like, a lot of people reach out
to me and they're just like, you know, thank you so much
for, for creating this work.
You know, I, it's, you know, something
that I haven't seen,
but now I feel, I feel seen, you know, I feel
that that it usually gives them more self-confidence.
Like, to see that I just like, don't give a fuck.
Well, and that's, that's the power
of representation, right?
Is seeing yourself modeled in situations
that you might not have otherwise thought possible.
Which when you, you know,
look at society's general apprehension towards dis
disability and sex, you know, like you said,
you weren't able to find anything going on,
on the internet way back.
And it's, you know, it does give you permission.
So here, here's a bit of a,
as a disabled person. a different question, you know,
like fetishists and stuff.
Do you ever find you get a response to your work from
what, what are the names?
Devotees. Devotees.
Yeah.
Yeah. But it's, my work is too intimate
for them, you know?
'cause it, it breaks
it because it, it, like,
I'm not being objectified, you know what I mean?
Like, I am confronting the viewer
and I, I'm very intentional
because of the way devotees like
treat their fetish
because it's solely about function
And the struggle? Yeah. Like (inaudible)
Yeah, whether, they, you know, they want you to like
move your arms or like, you know,
the struggle born type stuff
or like do something that they know you can't do
and they get off on that.
Otherwise it's, you know,
they love like the wheelchair or spasms or
like medical fetish.
So it's like, I use all of these things,
but then I also like, tend to like, I,
I look deliberately like, into the camera
to like let them know, like,
I know you're fucking looking at me.
(Danny and Fred laugh)
And that goes with like, you know, all, you know,
every viewer that views me, it's like,
why are you looking at me?
Like, you know, what, what the fuck are you doing here?
Well, and there's something arbitrary And also like...
about it being used to enable your pleasure.
Right? Like, it's not necessarily for the viewer,
you're just giving them a look at what's going on
behind the scenes, right? Like.
Yeah. Yeah.
So it's fundamentally the priority is still,
But also like, I want, I want them to look
and I like the images were also like, made so
that I could get laid
because like seeing
Proof of concept.
(Danny and Fred laugh) What's that?
Pitch video. Exactly. (all laugh)
Instead of just talking about it.
Like, people get to visually see what it, what it entails.
And I think that like helps people
realize like, oh yeah, like
you can fuck and you should fuck.
And it's really hot.
Yeah. So
You're doing god's work, putting it
Up.
I'm just trying, I'm just trying to get other, you know,
other disabled people laid. There you
Go.
That's as good a cause as any, well,
You know, it's, it's interesting
'cause I, I don't think I really got photography
until we took that one photo that we showed you
that was us in like, you know, shower time, which I mean,
it wasn't really about sexuality.
It was more, I think about intimacy
and vulnerability And just a snapshot of
what we'd been going through.
And, and I, and I was kind of poo-pooing the photography
until that photo came out
and it was like, oh damn it, like there's something here.
There's something here that is a good photo.
We took a good photo and it's so much truth
and story involved in it.
And, and I didn't know we were walking into that.
I was just kind of like, oh, who cares? Photography's dead.
Everybody's got a camera in their phone.
It's the most ubiquitous thing.
I mean now through living this process of like, and,
and maybe it's because it's different
and that we're a team creating this art,
I felt very connected to what, it wasn't just you,
it was like a, a team thing that now I realize like yeah.
All that ubiquitous photography's crap.
Mm-hm.
You know, it takes, Yeah.
Then when there's intention,
it, it shows you.
And that was something Yeah.
interesting for me, watching you kind of
grow as an artist was watching you come up with concepts
of like, I want to get this photo
'cause I think it would be cool.
And then we shoot it on 35
and then you're like, well, let's expand this concept
and do it on medium format.
And I'm like, ah, it got you fucker.
(All laugh)
It's, yeah. It's just, it's interesting to have lived
that process.
I feel like I know so much more about photography now
through, through going on a photography road trip.
And I, and I don't think if we'd,
if we'd been using our cell phones to take a million photos,
I wouldn't have learned anything.
But, but through this I did learn and,
And, and it's, it's, you know,
sometimes it's this ineffable quality
that a certain photo has where you're like,
there's something here
that's letting me take it to the next level.
And then like, you're just, you were trying
to pour over like what about this particular shower
photograph, you know, was bringing it to that next level
of giving the audience something to chew on.
Right. And letting them kind of come up
with their own narratives
about what's happening in the photo.
But we knew we were gonna meet Robert. Right.
And it's like, of course the photo is like two naked
dudes in a shower together.
And like, I think you inspired us.
Like, you know, and that, that's, that's what it was.
That was the moment, the 'a-ha' moment for me.
Yeah. And like also when I was making the work, like
no one would hire me.
Like I knew everyone in the art community in Grand Rapids
and like, you know, font like telling me how wonderful I am
and how good I am at what I do, but they can't employ me
because I'm disabled.
Like, so I was just like,
when I started making the work, I was alive.
I was like, no one's gonna fucking hire me anyway.
So I might as well just make the work that I wanna make.
Yeah. So the images that I wanna see in the world. So,
So would you say that constituted your 'a-ha' moment
of like, I'm in the right
Yeah. Stream.
Yeah.
So, so that, you know,
and it can make people upset, which is
always good artwork. We love that. So
We love making, because if they're not talking about why
They're angry, no's talking about your work.
Like, it's just, it's not good. So,
But like, so you've mentioned that, you know,
no one in Grand Rapids would hire you
'cause you're disabled, right?
You're a prolific photographer
and now you're still having like employment barriers.
What's the kind of current state of the, the,
the art industry for people with disabilities?
I, well, I think my problems mostly come
with the state.
You know, I essentially, if I get a full-time job, I have
to pay not, I'm not only working for my salary, I have to
pay for someone else's salary
Yeah.
Out of my own money.
And, you know, care as you know, is extremely expensive.
Yeah. Especially if you want good quality care.
Yeah. So, yeah.
Like having to pay for someone else's salary is really,
is really hard to do.
And that's hard with, you know, parents
with two incomes like looking for childcare
so they can both work.
But, you know, it's, it's the same thing.
It's, except I don't have kids, it's just I have myself.
So I think that's, that's mainly what, like,
the issues I'm dealing with right now is like, I,
I tried working,
but now, you know, I am, I am
fighting with social security.
So like, oh, you so you can work. Yeah.
And I'm like, well, I can't make enough.
And, you know, it just like, I don't know it.
No, that is the fundamental absurdity
of like requiring care work.
Yeah. Is, is the minute you start getting ahead,
they do everything in their power to clot back so
that you're starting in square one,
I call it like the vortex of poverty, right. Where
It's, it's a paradox. Like
The escape velocity that you need is like, I need
to be a billionaire, right?
Because where am I gonna get, you know,
a hundred thousand dollars to pay for a care worker?
But the fundamental absurdity is when we're working,
we're contributing taxpayers, right?
And then you're creating more jobs by hiring someone to work
with you so that you can maintain a level of independence
and it's better for everyone in the end.
Right. We all know that it's cheaper
to just give people the help they need rather than,
you know, put them in disastrous circumstances
that their health deteriorates over time and then they're
Expensive Costing more.
Yeah. Like, it's, it's how,
how do we wake people up, you know?
And that, that's, that's what a lot of my projects are, are
Well doing, doing what we're doing right now.
Yeah. And keep doing it.
Yeah. Yeah.
So, but as far as like the art world, I mean,
I think the pandemic really kind of fucked everything up
and just like,
because so much of that, like, we're still recovering
with the economy from the pandemic.
Like, like politicians, whatever.
But like, that's what it's stemming from.
And like, you know, we're
all the rich people are like not wanting
to buy artwork right now
because, you know, everything's so expensive.
And so I, I don't know, it just like,
no one's buying anything right now.
And I don't know, like when it comes to photography,
no one wants to pay for it.
Kind of like other art, you know, like graphic design.
No one wants to pay for that.
Like, and so it's just,
it's really frustrating, like
yeah, just trying to be employed, trying
to like be a fine artist.
It's, it's hard
and it's like, I want, I want to like, make books
and sell them or, you know, make t-shirts like merchandise,
like, like I wanna do all these things.
It's just like financially,
if I, if I can't,
You can't just pick up a camera,
Make enough, and go outside.
Right? Like, you need to pay for assistance
and you need to pay for, Yeah.
potentially models. And like, once again, you know, if,
if you make any money, like it's, it's used against you.
So it's just like,
Like gun to your head in, in, in America
where they're like, you have $2,000 in assets,
therefore you do not need care work anymore.
And it's just like Draconian punishments
And it's like, you know, my,
my mortgage payment is fucking,
Yeah, Almost $2,000 a month. You
Still have all the regular cost of living expenses
that an able-bodied person has,
but now, you know, to even function to like make a meal,
you're needing to pay a hundred thousand dollars in
extra additional costs.
We should do a, we should do a Crip Trip Only Fans,
(Danny laughs)
Just all, all of our participants. And, you know,
I wonder how much my feet pics would sell for? Robert?
Any takers? Wait, what?
Probably a lot.
Do you know what the going rate is for,
For your feet pics?
Sorry you, you made me think there for a second.
Robert, thank you so much for,
for meeting with us in Chicago and,
and for meeting us again now.
Your work's been an inspiration
and in many ways, you know, very important to our story
and, and a real source of inspiration along
that journey, so thank you.
Where can people find you on Instagram or your website?
Yeah, on, I mean, just Google, 'Robert Andy Coombs'
and it'll take you everywhere you need to go.
There you go. Yeah.
I,I love a short, Just Google me.
Yeah. Thank you so much. Yeah, thank you.
Okay, we'll talk soon. Watch on AMI TV or
Stream for free on AMI plus
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Catapult Pictures.
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