Draggin The World
These are performative objects that are offered as a means to comprehend pain. My background as a drag queen, creating evocative costumes and sculptures to be worn on the body during performances, has impacted my studio practice. Both share the ritual of documenting the work and conveying a message to the world. I want to honor the world of drag because of its influence on who I am as an artist and to demonstrate to the public how much this antagonized subculture can provide a safe space and comfort.
I am an interdisciplinary artist, assembling various materials, such as metal and textiles, to craft a concrete entity. These storytelling objects are created with specific factors–how they are worn on the body, the color palette, and the proportions. Drag performers have a history of “learning to work with what they have,” when making their costumes and this is emphasized through my use of second hand materials. “Learning to work with what you have,” includes creating resources that many queer people don’t have access to like the typical everyday person. This is demonstrated in the way I created the typeface for the show title. I am signifying how drag queens even may have to do the unthinkable to create their assets.
Overall, my work is an act of perseverance, as I use the process as a means of conquering the hardships of life. The act of overcoming is completed by creating whimsical pieces sourced from dark times. These experiences are shared as a visual experience to evoke feelings that cannot be felt with spoken words. Furthermore, my artwork (artmaking) allows me to reach out to others, to create connection and understanding. In the end, I see this as an opportunity to celebrate the culture of drag and its integral role in the trans community.
Gatekeeper
Steel, brass, cotton, yarn, paper, plastic
2024
This arrangement acts as an agent to disguise someone with a “fear of men.” It illustrates the idea that the man decides their fate to the wearer’s heart. Ultimately, the juxtaposition of materials is used to communicate elements of safety and danger. With this perspective it challenges what a man has the choice to be.
Alone
Anodized titanium, bone, pigmented ink, cotton, fleece, paracord, rhinestones
2024
“Alone” represents the root of my clinical depression, loneliness. This is created through the relationship of the image in the bone and the titanium. While the connotation has a negative effect, I utilized materials I seek as comfort to craft the necklace. The use of rhinestones on the back of the necklace acts as the concealed happiness that is within, once the depression subsides.
Gather Her
Cotton, canvas, fleece, upholstery, thread, embroidery floss, poly fil, plastic, steel, powder coat
2025
Visibly different arms hug the wearer’s waist from behind. The blue arm is filled with poly fil and the red arm filled with crinkly grocery bags, providing a soft and uneasy feeling. The fingers clamp together as a belt or corset, but deep within “Gather Her” represents the misconstrued vision of identifying relationships from the outside. The wearer receives my story, to feel safe with the blue arm and hypervigilant with the red arm.
Journey
Copper, steel, upholstery, cotton, yard, cord, wood
2024
The eland was an animal I learned about in Botswana, that I was unfamiliar with. I responded to this animal by using its neck as a canvas to create a tapestry and cloak. This response was influenced by the love letter I wanted to share with being a trans woman and my trans body. Additionally, to celebrate the journey through transitioning.
Portrait of the Body
Copper, enamel, graphite, cow hoof, pigmented ink, thread
2024
“Portrait of the Body” was an intuitive process with a goal to make an enameled raised form. Unintentionally, I started to see a portrait of myself…how on guard I can be in the world. Furthermore, the delicate figure in the scrimshaw displays innocence and curiosity. While creating temptation to open the fussy jar.
