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I am a processual artist whose work investigates dualities and contradictions within the poetics of queer life and desire. Through these modes and their momentum to escape, I attempt to discern their inexplicable nature by channeling the fugitive trace, questioning possibilities of ethical documentation. The work shows gestures given a fluid form and language: Documentation as Ephemera, Installation, Movement, Touch, Sound, Intervention, and Actions towards an undoing of conventional archival practices. 


Through thinking of the body and mind as a site for archiving memory, this space becomes a refusal of static archival representations through dynamic embodiments of the fluid and performative nature of queer desire. These ideas also challenge notions of a static materiality, bringing attention to matter’s potential for choreographic expression, where in the material itself becomes an active participant towards the ongoing construction of meaning and history. These tactics seek to conjure historical selves within fractured (Queer) legacies dislocated due to obsolete forms of documentation and behind the scenes work hazed amongst an ongoing political silencing and erasure. 


I challenge these notions of legibility through glass, wax, ice, salt, vibratory matter, found objects and other temporally elastic materials. By engaging the materials’ resistance, I explore how a material’s states of infinitum can be related to the complex multiplicities of queer desire. 



Who could have touched this material that I cannot? 

Where could this material have existed that I have not? 

In what timelines did this material exist that I did not? 

In what state was it in? – perpetually always melting? 

Always waiting? 


These unoriented connections all exist within the same realms of intimate or sexual encounters – replace the questions’ use of material with body and one can begin to understand the visceral entanglement with enduring the presence of absence. My practices of durational performance arrived from these conditions of gathering ‘emptiness’ towards possibilities of world building through silences and gestures of waiting that refuse capture and engage sensibility.


Waiting, then, seems to be the most powerful towards an opening of the senses, and one that is particularly queer. – Waiting within public cruising, waiting in the doctor's office, waiting for a night to end, waiting for a meaning to come out of that made to be illegible. Waiting can be a radical gesture towards existing in the interstitial spaces of time and embracing the anticipation of a futurity that exceeds the constraints of the present, disrupting linear time.  

(540) 293 2443 


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