Experimentations with lipstick, nail polish and wig hair submerged underwater.
I began this experiment with salt water, eyelashes, glass and synthetic hair while in the emotional aftermath of the Ghostship Fire. This work is inspired by that which brings comfort-seagrass and signifiers of queer femme identity and sexuality. I engage with displacement and create a buoyant space for these elements to move within, age and to form new connections. The changes within the tank are documented and the documentation becomes the final work.
Eyelash Grass was installed as part of "A Dark Rock Surged Upon" curated by Faheem Haider at Garner Arts Center in New York in June 2017. The public was allowed a rare primary experience with the tank and to view the changes during the time the exhibition was installed.
Also pictured: "Panic Room: A Safe Space for Reflection on the Value of Black Lives" by Tiffany Smith.
A Dark Rock Surged Upon, as spectacle, and as an exhibition of works of art installed, projected, and performed throughout GARNER Art Center’s remarkable decommissioned factory spaces, offers no answers; they are responses to contexts that feel jarringly new, cleaved by difference and dissembling. Instead, the works manifest the duty to pose questions about the current moment pressed upon many by racialized and gendered discrimination, our environmental challenges, urban decay and rural devastation, the wholesale assault on political credence, weaponization of worship, and the colonization of speech and mind. A Dark Rock Surged Upon is composed of sculptural, performance, video, photographic, and installation works by Thomas Albrecht, Michael Asbill, Sadee Brathwaite, Stephen Derrickson, Francois Deschamps, Laura Kaufman, Noah Fischer, Matthew Friday, Matt Frieburghaus, Peter Iannarelli, Tlisza Jaurique, Todd Martin, Linda Montano, Emily Puthoff, Rena Leinberger, Ryan Roa, Steve Rossi, Heather Renee Russ, Sigrid Sarda, Zachary Skinner, Tiffany Smith, Molly Stinchfield, Derek Stroup, Anthony Tino, Chris Victor, and Marcus Zilliox.
An accessory exchange with the sea and playful attempt to attract the kinky creatures that reside on the sea bottom.
A sampling of sea themed whimsical collages, portraits and still lifes.
Work from this series was shown in "Touching the Membrane" at Space Create Gallery in May 2016 alongside works by Raul De Nieves, Ektor Garcia and Keith Aguiar and at Dyeworks Gallery at Garner Arts Center in May 2017 as part of their Social Justice Art fair curated by Faheem Haider.
I started making Body Exaltations and the End of Land in the summer of 2015 and is an ongoing project that I revisit each year. This work began as a series of photographs and is about trying to hold space for Queer bodies in celebration and contemplation while the rare places we occupy are under constant threat of becoming inaccessible. There is a particular grief that is experienced every time an indoor place of Queer gathering shuts down. Outdoor places where one can be in the body are even more rare and Queer beaches became an important environment for these portraits. These beaches tend to be on tiny slips of land that are endangered by negative climate change externalities. Economic shifts also render these beaches more desirable to bodies of privilege and create situations where they become less and less places where Queer exaltation is welcome. This project explores the complicated nature of holding celebration and anxiety at the same time .