In the first year of making performance, I just did what ‘felt’ right and did it a lot.[Here is a brief CV:]
I began performing in February 2011 at The Stud Bar in San Francisco. In the course of my first year performing, I made over 100 pieces of unique performances presented primarily at gay clubs in SF. In 2012, I won the Trannyshack Star Search Pageant. Since then, I’ve performed regularly in SF clubs and I perform at clubs in Los Angeles and New York when I visit, and have performed at clubs in Berlin and Tokyo.
I began making art when I first got on stage three years ago. Soon after my first performance, making performance became a form of expression I needed to pursue.
I’ve been a featured artist in curated shows outside of nightlife: WorkMORE at CounterPulse August 2012; The News February at SomArts 2012; Best Revenge Festival part of QCC Pride Performance Festival June 2012; This Is What I Want July at SomArts 2012; Art Basel Miami for two gallery spaces December 2012; SFMoMA 24 Hours of Performance closing event May 2013; Highways Performance Space in Santa Monica May 2013; my own ‘Cunt – an opening’ at The Lab May 2013.
I’ve been a cast member or artist participant in colleagues shows: WorkMORE at CounterPulse June 2011; Freedom by Jesse Hewit (costume designer) at Z Space December 2011; MasterWork by Mica Sigourney at CounterPulse March 2012; Elder of Azania by Athi Patra Ruga at YBCA February 2014.
For the last two years, I’ve been consumed with giving the work I make an identity. I haven’t been able to. I’m curious about why that is.
[What I can say about my body of work:]
There’s a lot of artifice in my performance and also a lot of real tenderness. There’s a search for authenticity through inauthentic means. My performance is very visual. I am aware of the need to make the performance visually stimulating. With makeup, costume, and modes of movement, I enhance the natural visual impact of my physical appearance to create a visually fascinating object.
The body of my work is difficult for me to identify as a body. I thought I understood what it was about, but I don’t.
I want to define fascinating as an object: to arouse the interest or curiosity of; allure; to arouse the interest or curiosity of; allure; to transfix or deprive of the power of resistance, as through terror
As that, I combine grotesque and subtle facial expression along with isolated body movement to perform silent lipsynchs (typically) of popular songs (typically). Fully embodied, the fascinating object I create uses lipsynch of pop songs to either channel or mimic sincere emotion.