Growing up in a Costume shop owned by my father as well as attending theatre rehearsals of my mother in South Florida, I gravitated towards and ultimately embraced a lifestyle of camp, “deliberately exaggerated and theatrical in style”.1 The organic filters of my life experiences and influences have helped to guide my ongoing artistic process. Thusly, my work involves the processes of dyeing fabric and fabric manipulation alongside its performative and costume aspects, including the fiber technique of Batiking, (hot wax drawn onto the fabric to create a resist from a dye bath).
Further influence on my work stems from my fascination of the overlap of Heteronormative and Queer communities and their shared symbols, various images, slang, and icons. Research and contemplation have forced me to examine my love for my mother regarding the visual and societal space she holds as a blue-eyed, blonde-hair woman. Through the self-examination of my background I find the love I hold for my mother is something that can be weaponized (for example, the effect whether that my mother has had on my artistic theory, performance and practice will also have an effect on the queer community that I am a part of).
The visible overlap and differences between Queer and Heteronormative lifestyles regarding cultural aspects is becoming more apparent. However, by placing both the Heteronormative and Queer communities on a Venn diagram, one can note the high degree of influential overlap the communities have on each other. Overlapping icons such as Dolly Parton, Emojis, and the Nautical Star have led me to micro-observations that indicate the need for a constant comparison of the culture of the two communities. Objects caught in the overlap hold space in both communities until the object itself is outed. The duality of societal space combined with a potential lack of knowledge from the viewer mimics the social tension of coming “out”.