The revolution, like Saturn, devours its own children—advancing uniquely after assassinating its past. We like to think that we know gay narratives. The Flamer, The Queen, The Club Kid, The Victim. The Leather Daddy, The Muscle Boy, The Stud. Queer tropes are inherently counter-culture while the politics of the sexual revolution, marriage equality, and visibility are historically progressive.

The queer narrative has also been that of persecution. For several years Russia and the southern Republic of Chechnya have committed hundreds of acts of abduction, torture, and murder of men suspected of being homosexual. The exhibition features nineteen aluminum photo prints of gay and trans men with their eyes pixelated. The audience determines their identities through implication as victim or criminal, their erasure, or preservation of anonymity—and themselves as either activist or bystander.

Till The Night, like all of my work, elicits my positionally of plurality and double meaning. Where much of queer work celebrates the progressive gay narrative, I choose to cultivate from darker regions of my community and culture.

The alternate inception of our history is the palpable Homoromanticism of masculine power constructs. Camp fetishization of police, the military, and yes, fascists and supremacists.

Ernst Röhm, a high ranking member of the German Workers’ Party and loyal Nazi compatriot of Adolf Hitler, was also a flagrant homosexual. Opposing Paragraph 175, Röhm challenged heteronormative superiority indicating homosexual masculinity as the unsurpassed exemplar of supremacy. His prophetic words “All revolutions devour their own children” produce the second collection of aluminum prints forming disembodied mouths, both sexual and sinister.

The remainder of the work are wearable pieces representing the Homoromanticism of masculine power. Three turned aluminum truncheons, the weapon of police and symbol of authority, hang directly underneath Röhm’s words as necklaces and tokens of masculine prowess. The Alt-Right caricature of gay fascism culminates in the portrait of Jacksie, a queer skin-head, garlanded with a rubber ‘sautoir’ made from a recurrent symbol in my work, a manhole cover pattern.

Jacksie like the obscured portraits, confrontingly awaits the inevitable—their expulsion and purge when the night of long knives comes again.


“And since our quarrel is with his future behavior, not what he does now, I must frame the argument like this: if his position is furthered, his character will fulfill these predictions. And therefore we should liken him to a serpent’s egg—once it has hatched, it becomes dangerous, like all serpents. Thus we must kill him while he’s still in the shell.” - Julius Caesar

The Serpent’s Egg, a literary nod citing Shakespeare’s assassination plot in Julius Caesar, spotlights modern day executions of homosexual and transgender men both home and abroad. As the southern Russian republic of Chechnya has committed over a hundred acts of “preventative persecution,” abduction, torture, and murder of men suspected of being homosexual for several years, our own country has seen a disturbing increase in anti-LGBT legislation, hate crimes, and killings.

This collection of work was funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts.


2010 - 2012

"Interzone" 2010-2012 Friends in the know may have often heard the stories from Interzone, the seedy urban vignette of William Burroughs’s novel Naked Lunch. Interzone is a setting where characters enact their most egregious deeds. The manifestation of the intimate into the public propels the social body into the pornographic. The image of a city, its civic organization, and the politics of its massed bodies, are a series of systematic encounters and simultaneous encounters of the sanctioned and that of the deviant. This experience creates a population wherein the institution-- public restrooms, trucks, docks and so on-- accommodate the queer, yet divide it into portions where none, without a knowing eye, can ever see the length and breadth of its whole. Sexual identity directly correlates with visibility. Interzone is the postmodern city, and in the postmodern city, its queerness enacts a reversal, a destruction, of the Bentham all-seeing model of order and perception. An alternate inception of order is derived through the sexual. This work is a representation of Interzone, the queered and postmodern city, complete with all its cryptic fluidities of perceptibility. It is also a discussion of bodies: social, individual, and sexual. It explores the concept of sexualizing the social body as it transmutes and is felt by the individual, a process by way of pornographic politesse. Walking down the same particular street, visiting the same particular public restroom, we all inevitably become linked by action.