The series of photo-performances, "The Empress" emerges from a desire to fill a historical gap in the representation of transgender people in art history. It is from the game between: architecture, gender performance and power, that the figure of the Empress embodied in me emerges. However, in fact, it functions as an alter ego by which I expose my privileges (white, female appearance, middle class ...), but without forgetting that I am a person and a transsexual body, to investigate what I call: “Mechanisms Acceptance and Rejection ”. They are inscribed on the bodies in the form of codes: appearance, (race, gender, sexual orientation); and wealth (social class), and act as beacons that lead them to be more accepted and admired, or less accepted and admired, according to the type of codes present in the bodies. Being a transsexual artist puts me on the edge of the system, be it life or art, but when I am dressed as “Empress” the doors of the power places open for me, and people come to receive me and treat me as if I was a “sovereign”, nullifying the fact that I was a transsexual body. The dress and the performativity of power function as a biomechanical “armor” against prejudice.