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

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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.

 

Website - https://www.instagram.com/houndstoothart/ 

Instagram - https://www.instagram.com/houndstoothart/

a certain type of life

Nhylar

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/

 

 

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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/

Genealogies

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._/

Recompose

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_/

Spiderweb

Chad Eggar/ Oil on Canvas/ 32” x 36”/ 2019

Hey!

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/

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Vaseline Sheep

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/

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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/

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Unsicher

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/

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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/

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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/

Status

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

Cinched Pitcher

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

bottom: MUCUS

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.

 

Website - https://www.warnerballart.com/

Instagram - https://www.instagram.com/warnerballart/

Packet

Zackary Petot/ colored pencil, silk-screen/ 20 x 30 in/ 2019

Gloves

Zackary Petot/ graphite, silk-screen/ 16 x 20 in/ 2020

Throughout history the queer community has been always been able to be out in proud. Many men developed sophisticated codes to coexist as queer in a world that criminalized their identities. Polari, a secret British slang used by gay men, for instance, allowed them to speak freely without the fear of arrest. As time progressed this language became lost and very few within the community know of it.

Utilizing this codex language, in combination with drawing, printmaking, and digital techniques, I am giving the language a contemporary life. Combining contemporary items or images associated with acts within the gay community allow viewers to see items and then veils of text that reference the language.

With the nature of the language being a code, some pieces are harder to reveal the true meaning or need to viewed from the right angle to fully gather all the information being referenced.

 

Website - http://www.zackpetot.com/

Instagram - https://www.instagram.com/zackpetot/

Ministrations

Annie Graham/ Recycled pine wood/ 2019-2020

Carved hands from repurposed pine wood which - when wound up - mimic the movements of various gestures. I built the mechanism which allows the hands to move into an antique style table that I carved by hand. This work was part of a group show commissioned by Pollok House.

 

Website - https://anniegraham.co.uk/

Instagram - https://www.instagram.com/anniegraham.art/

We Are Space-time

Matthew Willie Garcia/ Projection Mapped Animation over Hand Cut Paper Monotype Screen Print/ 7’x3.5’/ 2020

Super State no.2

Matthew Willie Garcia/ Edition of 6/ Screen Print on Yupo/ 21" x 33"/ 2019

Quantum States and Queer Realities is a series of works that access the inherent queerness of quantum mechanics using these ideas to explore the fluid nature of queer identities. The work looks at what it means to have a  multifaceted and multidimensional existence, creating speculative spaces that hypothesize what it means to have a higher dimensional existence. Quantum States and Queer Realities utilizes printed matter, projection-mapped animation, and immersive installation to reorient ideas of space, speculative/science fiction, the future and utopia through a queer lens.

How does one depict queerness, fluidity, multiplicity, potentially, existence, and space-time? Utilizing the aesthetics of color abstraction, the fluid nature of ribbons and the expansiveness of space itself Quantum States and Queer Realities create its own dialect to speak and explore these ineffable qualities of the universe and imagines a queer future that is derived from the romanticizing of quantum mechanics and astrophysics.

 

Website - http://www.matthewwilliegarcia.com/

Instagram - https://www.instagram.com/matthewwilliegarcia/

Wanting a Blue Moon *

Kendra Harvey/ Earthenware, underglaze, glaze, paint/ 45” x 36” x 8”/ 2020

My Lineage

Kendra Harvey/ Earthenware, engobe, underglaze, glaze/ 36” x 24” x 10”/ 2018

My work conveys mythological narratives derived from everyday life. I use animal figures, inspired by the rich history of their imagery in storytelling. Elevating my pieces to the wall references sacred imagery while also evoking a sense of weightlessness. I want to invoke the feeling of hearing a familiar story once again but in a new form. In that way, I hope to connect contemporary and past myth, relating it to the human experience.

 

Website - https://www.kendraharvey.net/

Instagram - https://www.instagram.com/harvey_kendra/

Vessel 10

Tyler Jesse/ Soft Sculpture Yarn, fiberfill, dry pinto beans/ 7”w x 7”l x 14”h/ 2019

I use crafting as a way to pay homage to my backwoods Appalachian roots and all the women that raised me. Works from my “Vessels” series combine bodily form with traditionally feminine crafting techniques to deconstruct concepts of power by presenting phallic imagery as functionless aesthetic decoration. My work is soft and inspired by the intimacy of private spaces. My sculptures thrive best on nightstands in low to medium light where they seduce from the periphery through a glamour that masks underlying vulnerability. They ask the question: are throw pillows tops, bottoms, or versatile?

 

Website - https://www.tylerjesse.com/

Instagram - https://www.instagram.com/faggyfibers/

Polaroid #2

Thomas Lee Griffiths/ Polaroid/ 86x53 mm/ 2020

An exploration of queer identity, observed and mimicked through video and sculptural works, influenced by online media, the power of objects and materiality. Using self-identity creates an emotive value towards these investigations, characterised by underlying humour and exaggerated, stereotypical symbolism. Analysing the archetypal male’s heteronormative behaviour and hyper-masculinity, playing with the idea of the sexual, and the fetishisation of that masculinity’s essence in certain environments. Sensual yet gauche representations combine with tongue-in-cheek humour to convey this within the work.

Films such as Derek Jarman’s, The Gardener and James Bidgood’s Pink Narcissus, World Cinema, specifically Japanese cult (e.g, Hausu & Tetsuo: The Iron Man) are influential towards my video works, I aim to explore this much further through the use of sets, props and lighting. This has been notable within works and exhibitions, such as Keep It exhibited at GLOAM Gallery. Which transformed the space inhabited, changing it from the normative reality, into a space charged with sexuality, identities and hyperbolic fantasies. Due to my affinity for 80’s aesthetics (and music!) my exhibited work incorporates cool lighting, smoke etc. playing into the nightlife scene with which queerness is associated.

 

Website - https://thomasleegriffiths.myportfolio.com/

Instagram - https://www.instagram.com/thomasleegriffiths_/

You Turned

Kyle Reidmiller/ Oil on Canvas/ 36x48 in / 2019

As an artist I have found myself drawn to creating commentary on the contemporary world through a queer lens and for me, the evocative power of figurative art is unparalleled when it comes to communicating. In my paintings, individuals interact with and are subsumed in manufactured environments of paper, cardboard, and other temporary things. My work often also includes references to folklore and mythology; when reality is cruel, what harm is there to finding some escape in fantasy? Yet even when we examine that collective history we find more codifiers of cis/hetero-hegemony in the heroes than not; instead, I find solace and power in the proverbial “Other” in most tales. The monsters, witches, and fairies living on the edges of the village, wanting to be a part of it but always marked by their differences, resonate with the continuing experiences of the queer at large in today’s world to me.

 

Website - http://www.reidmillerart.com/

Instagram - https://www.instagram.com/kyle.reidmiller/

Counterbalance

Malicious Sheep/ Nikon D60 + 55-200mm Lens/ 2019

I am a differently-able non-binary queer multidisciplinary artist and photographer from rural Simcoe County, ON. I am self-taught in many mediums including, but not limited to drawing, painting, sculpture, fibre, mixed media, performance, assemblage of found objects, digital and time-based art.

I have developed motor and mobility issues in recent years and have had to transition primarily to photography as it is the most accessible medium I can use at this time.

My mobility issues necessitates the repeated examination and photographic documentation of wildlife within a half-acre property over time. Themes of study include; growth and decay, isolation, worth, as well as patterns and cycles in nature relevant to biomimetics.

I like to explore. I capture moments in nature that are often overlooked. I take portraiture photographs of inanimate objects, flora, fauna, and fungi. I want to capture moments that are emotional. I enjoy finding repeating geometric patterns and matching palettes. I look for musical quality in my subject matter. Something that vibrates and breathes. I want my photographs to give the feeling of stumbling upon a moment with a much larger and complex story. Finding the beauty and balance in both growth and decay, I want to tell the stories of life forgotten. Spiders, insects, birds, plants, mushrooms, lichens and rust are the main focus of my photographic work.

I will wait. If there is a photo opportunity but a leaf is in the way of the shape I am trying to capture, I wait for it to be blown away rather than move it myself. I do not use flash or artificial lighting. I will wait for the right kind of light for the mood I am trying to capture. I work in all types of weather and take my time exploring the textural changes that occur after dew, rain saturation, snow and drought.

As a self taught multidisciplinary artist, I like to find connections and common threads between many fields of study within my artistic expression.

Maintaining the integrity of the spaces I intrude upon is crucial to me. My photographs have not been photoshopped or staged. Raw all the way.

 

Website - https://malicioussheep.portfoliobox.net/

Instagram - https://www.instagram.com/malicioussheep56/

Stem

Alex Moore/ Acrylic and Mixed Media on Canvas/ 52”x 46”x 36”/ 2020

As a queer person, I’ve grown an acute awareness to the relationship I have with place. Politics follows my body and can consume my mind, filling me with fear, anxiety, and a general discomfort in many public spaces. Through my lived experiences I understand what it's like to be an oddity and I project this experience onto my paintings.

It's appropriate to interpret my paintings as burougening and growing mold samples; embodiments of the biological evolutionary process. The forms, systems of mark making, and colors running throughout my work are drawn from living things; animals, plants, humans, and fungi.

 

Instagram - https://www.instagram.com/alx__moore/

Guide Stars to Comets

Edward Perkins/ Mixed media collage/ 24’ x 36’/ 2019

Narcissistic Delusion *

Edward Perkins/ Mixed media collage/ 24’ x 36’/ 2019

As a maker I am interested in creating works that stimulate the viewer to think about the structures of power in society and to ponder the organization of experience and memory. As a non-binary person, I want to bring light to how power is embedded in minute details of life, such as language and convention and how those structures have affected myself and others. By destabilizing images and removing their conventional appeal, I hope to propose alternative ways of representing experience that are more aligned with how people are experiencing life currently in the age of endless content. I am interested in how global capitalism and spectacle culture have affected the ways that people both understand and express themselves, and I approach this by problematizing the medium through destructive and additive alterations. My work uses overstimulation to push the viewer into a place of uncertainty. When presented with the media in that form, the image begins to break down into varying levels of semiotic registry, and I enjoy exploring the limits of that registry in hope of pushing the materials into new and exciting places.

 

Website - https://www.edwardouo.com/

Instagram - https://www.instagram.com/edward.ouo/

Miss Manners: A Very Polite Chair

Stacy Lynne Motte/ Cherry, brass, elastic caning, electronics/ 36.5” x 17” x 17”/ 2020

My work explores femininity as a socially and culturally constructed concept with constraints on behavior that are alternately suffocating and comforting. By building a domestic space and filling it with delicate, quaint, and seemingly innocuous objects that misbehave; objects that are simultaneously luxurious and vile, I hope to challenge and complicate our associations with femininity. For me, The Dangly Bits and Other Vulnerable Encounters refers to that moment when you’ve laughed too loud, said something too provocative, sweated too much, or behaved in any other decidedly unfeminine fashion and immediately been made to regret it.

 

Website - http://www.stacylynnemotte.net/

Instagram - https://www.instagram.com/stacy.motte.art/

Organic Friend (2)

Cass Penegor/ Spray paint, hand-cut paper/ 3’ x 4’ x 6”/ 2019

I am a draftsperson and printmaker whose work is inspired by biology, geology, and the biomorphism of bodies that can scrunch or stretch in space. This work takes the form of drawn imagery and monoprints, and while these media are often displayed flat on a wall, I have recently begun experimenting with new modes of presenting them. The forms begin to break free from the wall, folding and twisting into semi-sculptural displays that creep around existing furniture and walls in site-specific installations.In most of my recent work you will find organic forms, or organic friends, that are shapes that often feel vaguely familiar, but also resist naming; they could be foam or bubbles, intestines, or cells you’d see under a microscope. While working, I am thinking about process and responding to the materials I am using, especially in print, while also thinking about nature and my own body. The work is often methodical and follows systems, much like a body does; Internal systems, bodies working as machines, artist working as machine. The organic shapes are both much smaller than us but also infinitely larger at the same time; they mimic both the micro and macro; they appear cellular at times, and then morph into constellations.

 

Website - https://perhapsacrylicart.wixsite.com/mysite

Instagram - https://www.instagram.com/perhapsacrylicart/

I SCREECH FOR PEACH

Rena Vesker/ watercolour paint, marker, black ink, pencil crayon, acrylic paint, glue on upcycled binder cover/ 10 x 12 in/ 2019

Rena Vesker is the human behind Frickin' Chicken Illustration, a project exploring their fears, flights of fancy, and sense of otherhood through the mischief of otherworldly critters. Their mixed media approach curates vivid colours and curious faces using inks, paints, pencil crayon, and beyond, often layered over upcycled materials scavenged during walks.

 

Instagram - https://www.instagram.com/frickin_chicken_illu/

Self-portrait and/of self-pleasure

Aro Mielonen/ Part 1 & 2/ 2020

This work consists of two self-portraits. These photos explore the lines between public and private expressions of gender and sexuality. The decisions of what to show and what to hide. How to present myself. How to find myself attractive. How to enjoy myself.

 

Website - https://drive.google.com/file/d/1wy59wu81fHsg1Z_7wenuzrRAXx26kf8p/view

Instagram - https://www.instagram.com/ilopylly/

The Makeup Maniac

Ian Park/ Ceramic/ 9” x 4.5” x 7”/ 2020

There are times when I try to remember aspects of my childhood as vividly as possible, specifically the weekends. Friday nights were for eating out with my grandparents and crashing in the living room while watching a conservative version of witchcraft, Sabrina the Teenage Witch, to later in the evening enjoying old bootleg VHS tapes with horror films for adults from the 70s and 80s. I can still see the cases those came in, and the lines that occasionally ran through the screen from a deteriorating tape as I would watch with excitement and fear. Saturdays occasionally consisted of renting a variety of flicks with my parents, especially horror. We would pig out on either delicious homemade grub, or fast food as we stared at the glowing screen. Once, I had to leave the living room because I was so frightened of a man being cut in half during Children of the Corn IV. I freaked out, but deep down I loved it!

Little did I know that I would have a lifelong fascination with scary movies, not only for the visceral feelings that they tied my family together with, but for the queer concepts that were deeper than the screen. Films such as Village of the Damned, The Exorcist, & Bloody Birthday’s underlying themes show the fear that heteronormative society has when children act out and threaten straight living by acting out in ways that are freakish, evil, or abnormal. Afterall, kids are supposed to be innocent, sexless, and docile according to adults.

My art is based on these concepts of camp, queerness, horror, class, and humor with an emphasis on influences from films. I am always creating challenges for projects in which I combine these subjects to weave my identity, life, and upbringing together. Each work is an amalgamation of communication that shows where I am today, while materializing past stages of my life. Whether I am constructing a mixed media installation or building functional ceramic vessels, I always consider the visual and physical engagement of the viewer. Through this, I’m able to remember adolescence and fill in the blurry aspects with my own queer and horrific ideas of what I think are interesting and beautiful.

 

Website - https://www.ianparkart.com/

Instagram - https://www.instagram.com/ian.park.art/

Farzaei_1.jpg

Reflecting

Sélina Farzaei/ Sony Alpha 5000, Adobe Lightroom/ 2020

Born and raised in the suburbs of Montreal Island, I find inspiration in shitty things; dead flowers, polluted river water, construction sites. Although I explore, experiment and share various forms of visual art, analog photography remains my favourite. I state “the cheapest way to film” as I believe in limitless creation at a minimal cost.

 

Website - https://wackography.tumblr.com/

Instagram - https://www.instagram.com/wackography/

Maybe This Town is Big Enough…

Elliot Johnson/ Acrylic yarn, Knitting needles/ 23 x 16 in/ 2020

Three Kings *