Queers Just Wanna Have Fun
An online Exhibition
Juried by The Queerly Collective Team
In light of what is occurring in our world, we at Queerly Collective were in search of the joy that had seemingly ceased to exist in the social media world as well. With the pervasiveness of show cancellations in the art community, we felt a call to action. We aspired to create another avenue for your hard work to be shown. Our desire to alleviate some of the pain that is accompanied by uncertainty led us to the creation of this exhibition. While it is easy to become lost in an endless scroll of work inspired by the anxiety we are collectively feeling, we hoped this exhibition brings levity to our viewers and illustrates how we as a community are, by nature, resilient beings.
That being said, we would like to thank you for the extraordinary number of submissions we received. With this being our first exhibition we are thrilled by the prospects for our future at Queerly Collective, as well as the ways in which we are able to serve the LGBTQIAP+ artists and makers community. We would not exist without our predecessors and without each and every one of you. Thank you for joining us in this journey, and giving us the ability to showcase these international artists. We will continue to mirror the world we desire to exist in and fight for our collective voices and visions to be seen and heard. We are humbled to be in service to our community.
* = Juror's Pick
You Should Be Painting
Brooke Ebeling/ Posca Pen on canvas/ 8x10”/ 2020
My current body of work celebrates the vibrancy of everyday life, as well as the technicolor world in which our memories reside. In my still life pieces, I primarily paint fun and familiar subjects - such as board games, toys, and decorations - with special attention given to the energy within their hues. During these difficult times, I find myself turning to games as a way to unwind, but also for the sense of comfort that comes from memories of playing with family and friends when it was still safe to do so. I cherish the time spent with loved ones over a game table or console controller, and I hope that these pieces remind the viewer of some fun memories of their own.
Website - http://brookeebeling.weebly.com/
Instagram - https://www.instagram.com/brookeebelingart/
Meanwhile, the World Goes On
Houndstooth Art Collective/ Digital/ 21in x 26in/ April 2020
We are a Vancouver based art collective with a special interest in the radical liberations associated with social and environmental justice. Finding joy and liberation in the shadows of marginalization, a space that Queer folks have historically and continually occupied, we created this piece by finding new ways of connecting and fostering Queer joy. This is amidst a new set of structures and structures relating to how we communicate with one another. Specifically, this piece uses the process of one person making an edition and then passing the work forward digitally until it makes its way through the entire group. We adapt collectively and seek out these spaces of joy.
While this is not an ideal process, it is a necessary adaptation to the times, and parallels the way that Queer people have always had to make space for ourselves to have joy. In navigating a communal art making process in this period of social distancing, we attempt to showcase how this is still possible, it just takes new forms. This piece has no singular meaning to all five of us, but is itself an example of how Queer collectives mediate collectivity under the watchful eye of institutional hegemonies and the different ways that we find joy within them. A large part of finding joy in Queerness comes out of being liberated from societally imposed shame, hence the inclusion of three lines from Lesbian poet Mary Oliver’s Wild Geese which deals with said themes. One of these lines was adapted from “you do not have to be good” to “be good.” The other line we quote is the title, “Meanwhile, the World Goes On,” a line we relate to now more than ever, as we ponder the comfort and terror it evokes.
Instagram - https://www.instagram.com/houndstoothart/
a certain type of life
I'm a 24 year old QPOC living in Toronto. I write about queer representation, living away from home, and anything that intrigues or enrages me.
Instagram - https://www.instagram.com/shutupitdoesntmatter/
Green Eggs and Ham Buckle
Funlola Coker/ Brass, Fine Silver, Copper, Bronze, Turquoise/ 1.5” x 2”/ 2020
These pieces were created simply because they bring me joy. The process of making miniatures is challenging and exciting, and the end result is always satisfying. Creating them in metal is all the more fulfilling because of the materials' permanence. The joyful feeling is forever preserved and can be viewed for years to come.
Website - http://funlolacoker.com/
Instagram - https://www.instagram.com/funlolacoker/
Anna Ádám/ Drawing, painting, collage with found family photographs, sewing on paper/ 2020
Pussy Love Book III.
Anna Ádám/ Hand-made, self-published sewed erotic artist book with original drawings and ruled pages/ 2020
Anna Ádám (b. 1983) is a Franco-Hungarian performance maker and visual artist whose work blurs the boundaries between choreography, image, and object, with emphasis on the body as the central form of expression.
She studied dance, performance, choreography, visual arts, and fashion before obtaining her Master of Arts from the ENSAPC Art School in Cergy, France, in 2016.
Her interdisciplinary and often site-specific projects echo the broader socio-political context from a feminist and queer theoretical perspective, focus on socio-cultural changes and sub-cultures, challenge hegemonic class, gender, normative behaviors, and dominant ideologies. By combining choreography, photography, drawing, installation, and clothing, Anna Ádám’s work is also an exploration of the performative potential of the image and of the object in general, with a focus on cultural, ideological, social, and heteronormative structures.
Website - https://www.annaadam.net/
Instagram - https://www.instagram.com/_.anna.adam._/
Sarah Bryant-Cole/ cotton, silk, elastic, rayon, polyester filling/ 2019
My work aims to reframe viewpoints that cause us pain and turmoil. As a member of the queer community, I am familiar with how many burdens we carry with us physically, and emotionally. My art is my way of alleviating some of those pains for myself, and creating a space in which I can thrive. Hopefully, others will also be able to relate to the work I create.
We Find Ourselves to be Beautiful is about creating my own oasis as a queer person in a world that sees our community as disgusting. This oversized floor pillow was made as a celebration of queer beauty and an invitation for other members of the community to join and sit together.
Recompose finds beauty in death by bringing an air of playfulness and emphasizing the nourishment of the earth and other organisms after passing. It is a recontextualization of grief, and provides a positive interaction with the idea of death.
Website - https://www.sarahbryantcole.com/
Instagram - https://www.instagram.com/_balancer_/
Chad Eggar/ Oil on Canvas/ 32” x 36”/ 2019
Chad Eggar/ Oil on Canvas/ 30” x 36”/ 2019
I am paying close attention to my feelings, emotional responses, and intuition to visually represent the world around me. My depiction of an intuitive reality from memory enablesme to explicitly explore how an experience felt rather than how it looked. In this way, the images I create are entirely honest. My images begin in memories. Through a negotiation of drawing and painting, these memories are explored and expanded. In a third-person view, I engage in a recursive conversation with my past selves. Like memories, these conversations warp and change. However, they eventually settle into a mode that is either exploratory of how I remember the surrounding environment or indicative of my inner dialogue. Looking back and noticing the small intricacies of the world can be so intensely beautiful and joyous. But even at the peak of this beauty, I cannot help but contextualize it within the incomprehensible horror of the universe. My images are vehicles for casual or mundane experiences, simultaneously existential and humorous; nihilistic, yet optimistic. For the protagonist in my artwork, this contradiction is a stage on which they are constantly twisting inward. I contemplate this relationship to create an image burdened by loneliness, yet liberated by a whimsical sincerity.
Website - https://www.chadmeggar.com/
Instagram - https://www.instagram.com/chad.eggar/
Aaron Caldwell/ Ceramics, steel nails, petroleum jelly (rubbed into surface)/ 8 in x 6 in x 11.5 in (HxWxD)/ 2020
Being black and gay in the U.S continuously has placed me in positions of activism and resistance to power structures. This relationship I continue to have with resistance, pain and struggle is what blackness and queerness are commonly boiled down to. My work serves as an opportunity to look at black and queer identity with a lense of interiority; allowing us to be multifaceted humans that engage in both the loudness and the quietness of our cultures and ourselves.
These works highlight black folks’ history with moisturizing products for the hair and body. Being considered physically ashy (white and dry skin) or socially ashy (wack, lame, ignorant) are lingo amongst black folk. As a result, products like lotion or coconut oil have become a staple in the Black community, and these works concretely elevate and immortalize this relationship unique to black culture.
Occasionally, I will also employ animal narratives to tell my stories similar to the process of folklore. The buffalo references the black male soldiers that were referred to as buffalo soldiers. The gazelle references the animal’s historical place as the symbol of femininity/womanhood. The sheep represents those who are not confined to the binary gender system and/or are queer referencing the idea of being the black sheep of the family and reclaiming this ideology by proudly not being part of the “norm”.
The goal of my work is to explore the distinctions I experience through blackness, queerness and black queerness.
Website - https://ceramicsnstuff.com/home.html
Instagram - https://www.instagram.com/ceramicsnstuff/
Untitled, from “Disidentifications” series
Jesse Egner/ Inkjet print/ 40” x 50”/ 2019
This series explores queer disidentification—How LGBTQ individuals in different communities and social environments construct, engage in, and practice their own disidentities not bound by any existing structure. As a fat and disabled gay man, I have experienced countless rejection from members of my fellow gay community members. This project began as an exploration into my frustrations of feeling outcast from a community that is supposed to be welcoming and accepting, and developed into an exploration into the vast amount of queer identities and individuals who do not assimilate into any normativity. These queer disidentities exist in a state of dynamism, always with the potential of change but can also exist in a state of stability. To “queer” your identity is not to create a counter identity—Rather, it is to disidentify entirely and remove yourself from any existing framework. The uncanny and playful performative acts in these photographs represent the precarious nature of queer identity and the vast potential it has to form, transform, and reform. This series explores disidentification, self-representation, and the fluidity of becoming, as well as call attention to the struggles from which disidentification is manifested—The gaze, the oppression, the self-doubt, and the self-destruction.
Website - https://www.jesseegner.com/
Instagram - https://www.instagram.com/jesseegner/
Jared Cooper Cobain/ Oil on canvas/ 30x40/ 2019
Queer figurative & portrait painter living in Leipzig, looking for ugliness in beautiful things.
Website - Www.jaredcoopercobain.com
Instagram - https://www.instagram.com/jaredcoopercobain/
Well Hung Up
Emily Budd/ cast aluminum/ 8" x 2.5" x 5"/ 2019
In my practice I use casting and mold-making materials and techniques to document the gradual transformation of the everyday, creating fictional artifacts designed to seek out and explore the undiscovered queer future. I’ve been melting down scrap aluminum and slapstick lesbian jokes in the foundry to reimagine new worlds of gendered possibilities. Using humor as a means to empower, these objects celebrate the latent destinies of genderhood on the brink of nonnormative inevitability.
Website - https://emilybudd.com/home.html
Instagram - https://www.instagram.com/ladybudd/
Tea Time at Grandmas
Dante Cioffoletti/ blue foam, found fabric, fabric dye, rhinestones/ 4 ft x 1.5 ft/ 2020
My work often revolves around trying to center myself of where I belong in the queer community. I’m inspired by the communal understanding of grief within the queer community, however I want my work to bring joy back into the cycle. Boy crushes and the act of longing also heavily impacts my work.
Instagram - https://www.instagram.com/pissdyo/
The Forest (Milly) *
Selina Mayer/ silver gelatin photographic print/ 11x14 in/ 2019
Camilla “Milly” Harding, a British born queer bi-racial actor, theatre maker, writer and drag king. We met through a mutual friend who organised an exhibition we both participated in, and later bonded over our mutual experiences with chronic illness and using our bodies in our art to work through it.
The Forest (Sionna)
Selina Mayer/ silver gelatin photographic print/ 11x14 in/ 2017
Sionna Stevens, an American genderqueer artist, cam model, former dancer and an internet friend of mine for many years. We connected on a personal level due to our shared experience with chronic pain. We missed each other when they first came to the UK as I was in the US at the time, but in 2017 our schedules finally lined up and we got to spend a week together. At the time they considered themselves to be 'just' a model, and I spent much of that week encouraging them to see the value in their own art and their own voice, having gone through the same thing only a few years before.
Began in late summer 2015, The Forest is a conscious departure from masculinity and modernity, both in medium and in subject matter. My subjects are my contemporaries, from my global community of young artists using their bodies for self-expression, uniquely connected in the digital age through social media. Recent puritanical legislation around the globe has inhibited how we connect and share our work, but we continue to create undeterred.
Being from the same community we are allowed an immediate level of familiarity and intimacy that other (typically male) artists aren’t privy to. We are nude, but it is an unselfconscious and primordial nudity, reclaimed from the male gaze and with a softness and intimacy to the images rarely captured in a male lens. We are in nature and a part of it; we aren’t conquerors of the natural world, we are skyclad witches and exultant earth goddesses in communion with nature, vulnerable yet unafraid. We remain people, as unique and individual as the environments we are a part of, not anonymous figures bereft of identity. We are willing collaborators and active participants, captured with the ritual alchemy of analogue photography.
The timelessness of the setting is complemented by the medium; black and white film, processed and printed by hand. The final prints are not airbrushed, drawing attention to the tactile and physical qualities of the images as objects, in an age where photography is everywhere yet mostly incorporeal and ephemeral. The texture of the film grain echoes the unadulterated skin textures; the irregularities of analogue processes reflecting the natural imperfections of we the subjects and the environment.
The images of The Forest are an expression of freedom, defiance, community and of liberation of spirit, continuing a tradition stretching back generations.
Website - https://selinamayer.com/
Instagram - https://www.instagram.com/selinkamayer/
TPak Testosterone Care Package
Spencer Micklo/ Digital Media/ 2020
When I came out as gay and transgender, I started learning more about the LGBTQ+ community and its history. In college, I was able to use the information that I was learning and be creative with it. A lot of my independent pieces are politically motivated and about sharing information with others. I want to spread awareness and teach people about the LGBTQ+ community and the struggles that we have faced or are facing.
Website - https://spencermicklo.com/
Instagram - https://www.instagram.com/spencermicklo/
Shelby Fleming/ Constructed Image/ 24 x 24 in/ 2019
Exaggerated body gestures as a mode of conveying emotional state of being.
My studio practice is cross disciplinary with a focus on sculptural installation and performance art. My most recent artwork questions perception, physical spaces and how we curate the presentation of ourselves in particular spaces. This curation could happen physically or psychologically as we determine what we wish to reveal about ourselves or conceal. This topic became the focal point of my practice as I started to discover my queer identity and question how to present myself to my hypercritical family.
Website - https://www.shelbylynnefleming.com/
Instagram - https://www.instagram.com/shelbylynnefleming/
self-portrait: artist at work
Brittany Brooke Crow/ archival pigment print/ 16”x24”/ 2020
The making of self-portraits has a long trajectory in art history; the artist always has access to one’s self. The female nude is similarly ubiquitous. Women, while traditionally underrepresented in collections, have accounted for the majority of subjects in depicted nudes. This has challenged art collectors and institutions and lead to important changes in their acquisitions. Yet the historical significance of the female nude and the male artist weighs heavily as I attempt to change the script. I desire to challenge the idea of the female nude by inserting myself in my figure studies.
What happens when both the artist and model are the same person? What is the significance of the gaze when I am the one gazing and also receiving the gaze?
Website - https://brittanybrookecrow.com/
Instagram - https://www.instagram.com/brittanybrookecrow/
Tucked Teapot: Blue
Connor Czora/ White earthenware, imitation glaze, nail polish, rhinestones/ 7 x 10 x 6.5 in/ 2019
Connor Czora/ White earthenware, imitation glaze, nail polish/ 11.75 x 7 x 6 in/ 2019
My work explores the relationship between domestic ceramics, cultural taste, and sociopolitical power structures in the United States. As a queer person and a drag performer myself, this work often explores themes of gender, sexual identity, and the performance of identity.
This series investigates gender, drag, and identity performance through dragged-out “porcelain” vessels and sculpture. In the spirit of drag, I create the illusion of elite porcelain pottery from inexpensive white earthenware. I alter these forms with body modifications that reference the reshaping of the body that often takes place in drag performance. Playing with language used to describe parts of pottery, such as lip, shoulder, waist, and foot, these vessels are tucked, cinched, and padded.
Website - https://www.connorczoraart.com/#1
Instagram - https://www.instagram.com/connor.czora/
F L U I D / s
Luna Inkeri/ Performers: Kimmo Lust & Nilja/ 2019
top left: MIRE
top right: OOZE
FLUID/s consists of three photographs of two queer bodies in partner- and friendship sharing intimacy. The body of work is a corporealisation of queer pleasure, representing fluid forms of gender, sexuality and physical matter. Viscous and runny slime links the bodies and their bodily fluids as one continuous entirety.
Everything seen in the bodies of work has been negotiated and planned together with the performers and photographer. Even though this scenery with its slime and iridescent background is, in the end of the day - a set up, every participant in this work has given enthusiastic and informed consent for everything to happen.
Instagram - https://www.instagram.com/lunakuun/
Saturday Mornings II
Warner Ball/ Digital photography/ 24x24/ 2019
Still life has direct applications to domesticity, as still lifes are often used to decorate a home and fill wall space. I treat my images similarly but use dead animals as part of the composition. This is a reference to the hunting culture I was embedded in as a child in the rural Midwest. I remember thoroughly enjoying my childhood, but as an adult (and an ambitious, curious queer person) life in the woods felt stagnant and unstimulating, hence the use of the lifeless animals in my work.
I now find joy in reflecting on my upbringing through photography. My still life work is a reflection of my current aesthetic tastes as well as an homage to the personal growth I’ve undergone to remove myself from a stifling environment. My work shows me how far I’ve come.