An illustration of a group of small, disembodied, multi-color faces.

Tomas Moniz

Affiliate, 2020 - 2022

A person standing beside a tree.

Artist Statement

As I write this, in the midst of a pandemic, I know that so many artists, including myself, feel helpless or self-indulgent, wondering how we can create meaningful work in a time of social isolation, in a world teetering towards fascism and, especially here in the U.S., in a society built on racism and sexism. What kind of stories can we tell as an act of resistance or as a way to heal? I see my work as an artist as an attempt to answer those questions, to create stories that imagine a better world, stories that redefine what it means to be a man, a lover, a family, a community.

While at Headlands

I plan to stock my studio with books by Jericho Brown, Gloria Anzaldua, and Leslie Marmon Silko, strong acidic coffee, my cute fern named Leafy, a record player with all the Joanna Newsom albums; then on Tuesdays, Thursdays and Fridays, I plan on editing my two finished novel manuscripts: one about setting fires both literal and metaphorical and the other about legacy and growing old. I will also pull together a manuscript of creative nonfiction essays exploring parenting and identity, as well as a book of playful, randy poems. I also hope to begin a new novel about intimacy, masculinity, and wildflowers.

Selected Texts

Big Familia excerpt, Chapter 11: “King Pleasure”

“LIKE NEEDLE TO RECORD,” XRAY Lit Mag, January 2019

“room to breathe: an essay on competition & toxic masculinity”, The Acentos Review, February 2019

“Two Poems”, Longleaf Review, Summer 2019

Dating and Biking in San Francisco, Pine Hill Review August 2019

Banner image by Rob Moss Wilson

View Feast for the Senses

Feast for the Senses

View Reading at a Distance: Ari Banias, Vincent Chu, Tomas Moniz, Shelley Wong, & Hazel White

Reading at a Distance: Ari Banias, Vincent Chu, Tomas Moniz, Shelley Wong, & Hazel White