My work investigates the potential of a body through the use of tools, lexicons, technology, and image making. I reimagine the queer body by using an index that forms a figure. The index collapses the body into a language of shapes, which may suggest a leg, nose, or mouth. Though this index does create a vocabulary of the figure, the shapes never truly fit together or apart. The deconstructed body forms a utopic opportunity to be ever changing and evolving. The fragmented bodily shapes individually, suggest a limb but also refer to real and imagined sexual toys.
The concept of using a mechanism is an essential aspect of how I make decisions. I see my relationship with tools as an extension of my queerness and gender; though the printing press contains parts, metal, and gears, and I of organs, flesh and bones, in concept we both can reproduce. The press acts as a genderless prosthetic of myself, performing the act of creating and bypassing the need for sexual organs. Printmaking’s relationship and historical lineage from analog to digital informs the aesthetics of my work. In conjunction with the digital reference achieved in shifting gradients, the colors available for sexual prosthetics similarly inform the hues I use for each image. Color plays a significant role for me when beginning any composition. The palette I use is intended to combine the feel of a celebration, theatrical situations, otherworldly sentiments, and referential to saturated flatness only achieved digitally.