My work opposes the current legislature’s strategy to weaponize trans rights, pushing a fascist agenda threatening everyone’s privacy and autonomy. The media intentionally strips trans narratives of nuance and pleasure—qualities that define humanity.
In my work, I control the viewer’s points of access and make the act of seeing an active process. Through this, I invite the audience to experience the joy that comes from opacity. I use silkscreen to create variations in matrixes. Pattern carries a history that I physically reconfigure, opening the structure to the infinite potential of past and future realities. Forming new ways of seeing and relating is a way to invite a more welcoming future, not only for transsexuals but for all of us, as we navigate a global shift in privacy, information, and access to truth as a collective.
While at Headlands
I plan to collaborate physically with the natural and built environment of Headlands through installation and image-making. I begin from an aesthetic response to the world around me; meaning in my work stems from the patterns of movement in my lived experience. Through a maximalist use of color and materials like velvet, fiberglass, latex, and silk, I embrace pleasure over legibility. As elements integrate into installation, I build a context that asks you to consider your specificity as a viewer. I am interested in the way that artists have responded to Headlands’ spaces in the past; I think about how Ann Hamilton used architectural intervention to facilitate community-building in her Mess Hall. I am curious about what will develop from a relationship with the mercurial beauty of the foggy coast and the expansive architecture of the Headlands campus.