object response
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I am a multidisciplinary artist
my art
typically involves drag.
this generally involves live and/or recorded music,
as well as working with movement drawing from
a background of diy punk, horror,
& feminist/experimental performance.
a non-exhaustive list of recurring themes/materials:
memory/metamorphosis/gender/repurposing/poetry/
mess/textile/performativity/trauma/autotheory/distortion/
fashion/neurodivergency/femme/debris/makeup/sound/
ritual/photography/aestheticized realism/
desire/somatic theory/time.
I consider much of my work a collaborative effort & dialogue
between myself and those participating & bearing witness to it.
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the following are a few artists/works who have shaped the trajectory of my practice.
(again, an inexhaustive list as there are many!)
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In my experience performing inhabits a liminal zone between both planned
technical precision and improvisation. A time based process
of embodiment. Technical skill is also gathered from witnessing others perform
and through word of mouth and practice.
During quarantine I spent hours watching youtube makeup tutorials
and tracing patterns of clothes. You eventually cultivate an eye for
colour, texture physical gesture, in the context of how it will appear
on the face or body. The rules and how to break them if necessary.
For fun. For necessity. It is an elaborate yet practical process.
You essentially are looking for the most straightforward,
time effective way to achieve something extravagant.
A few videos from experienced drag queens that have stuck
since lockdown when I began:
Violet Chachki
https://www.youtube.com/watch?v=_3xN8XPRVeg&ab_channel=RuPaul%27sDragRace
Patrick Starrr
https://www.youtube.com/watch?v=LsTOYQesx9k&ab_channel=PatrickStarrr
Naomi Smalls/ Kim Chi
https://www.youtube.com/watch?v=bTarP15RdoI&ab_channel=WOWPresents
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A fragment poem in quotations
i Russell, Legacy. Glitch Feminism: A Manifesto. Brooklyn, N.Y.: Verso, 2020. 69.
"“a lot of work is put into trying to give the body form”.
ii Butler, Judith. Excitable Speech: A Politics of the Performative.
New York, N.Y.: Routledge, 1997. 4.
“The speech situation is thus not a simple sort of context, one that might be defined
easily by spatial and temporal boundaries".
iii Feinberg, Leslie. Transgender Warriors: Making History From Joan of Arc
to Dennis Rodman. Boston, MA: Beacon Press, 1996. XI-XIII.
"“If theory is not the crystallized resin of experience, it ceases to be a guide to action”.
iv Coel, Michaela. Misfits: A Personal Manifesto. Holt Paperbacks, 2022. 13.
"A flutter. Now there's a moth. The three of us try to swat it away
as the pink of dawn ascends".
v Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity.
New York, N.Y.: Routledge, 1990. _.
"a performance that is repeated".
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- i Tracey Emin, Pysco Slut, 1999. Appliqué on blanket, 96” x 78”.
https://www.sfmoma.org/artwork/99.490/
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-ii Heather Cassils, Becoming An Image, 2012-present.
Performance, photography, sculpture, sound.
https://www.cassils.net/cassils-artwork-becoming-an-image
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-iii John Waters, Pink Flamingos, 1972. Film Still.
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-iv Ryan Trecartin, CENTER JENNY, 2013. HD Video, 53 minutes, 15 seconds.
https://artreview.com/review-ryan-trecartin-four-new-movies/
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-v Tau Lewis. Sculpture installation still. 2018.
https://canadianart.ca/interviews/a-conversation-with-tau-lewis/
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-vi Lingua Ignota. Performance still, 2019.
https://www.theguardian.com/music/2019/apr/18/
this-has-been-fantastic-revenge-metal-musician-lingua-ignota-on-surviving-abuse
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-vii Catherine Opie, Self Portrait/ Pervert, 1994. Chromogenic print, 40 x 30 in.
https://www.dazeddigital.com/art-photography/article/48089/1/photographer-
catherine-opie-her-work-is-about-more-than-just-her-queer-identity
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-viii Craig Calderwood, Locker Room Clairvoyance, 2019.
Pen on Water Colour Paper, 11” x 14”.
https://craigcalderwood.com/#/locker-room-clairvoyance/
iv Ryan Trecartin, CENTER JENNY, 2013. Video still. HD Video, 53 minutes, 15 seconds.
i Tracey Emin, Pysco Slut, 1999. Appliqué on blanket, 96” x 78”.
ii Heather Cassils, Becoming An Image, 2012-present.
Performance, photography, sculpture, sound.
iii John Waters, Pink Flamingos, 1972. Film Still.
v Tau Lewis. Sculpture installation still. 2018.
vi Lingua Ignota. Performance still, 2019.
vii Catherine Opie, Self Portrait/ Pervert, 1994.
Chromogenic print, 40 x 30 in.
viii Craig Calderwood, Locker Room Clairvoyance, 2019.
Pen on Water Colour Paper, 11” x 14”.