Queer Futurity
Collected works by students from the course "Imagining Queer Asian Futurities", May-June 2024, OCAD University, taught by Julius Poncelet Manapul
14 ARTISTS: Noor Awan, Jennie Chan, Jasmine Liaw, Liqun Chen, Kristen Lodu, Zoey Lyu, Liang Haymen, Gray McLean, Star Bunzigiye, Siqi Li, Shae Wu, Sahar Azim, Angelyka Vigilla-Bal, Xiaolin Xu.
These series of work came out from the "Imagining Queer Asian Futurities" class which explores queer cultural past, present and the future reflections on ways we confront challenges and society structures through lived experiences and contemplation. These 14 students tackle subject matters that are in our ever changing global landscape lingering in the personal, the public realm, the nostalgia, the political, the cultural, and the social realm within the ever-changing queer narratives within 2SLGBTQIA+. During the class we had reflected on what Queer Asian sense of be-longings can be within a hopeful future along with the allies in class that support ways of acceptance, equity, diversity and inclusion.
"Queer Muslim Picnic"
Medium: Digital Collage from Archived Mughal Miniature Paintings.
Size: Viewed from an iPhone, scale varies.
Queer Muslim Picnic is rooted in my ancestral past as Kashmiri/ Punjabi, my present experiences as a queer, non-binary Muslim and the future of queer Muslim, South Asians within society. I am using the ancient artistic practice of miniature painting which originated from areas around my ancestral lands, from the Islamic Mughal empire in India. These miniature paintings were often records of significant events, people and ideas from that period. They also provided a visual archive making these events and ideas more accessible to the public, which reminds me of how we capture and post our most important photos on social media in today’s day and age. This parallel is something I have leaned into, having the audience see a visual narrative of important moments or people in my life, including myself, in a similar way to how they would have used miniature paintings back in the Mughal era. The moments and communities I share in these pieces are also the ones I felt most celebrated by for simply existing as myself, which is my reason for archiving these moments.
I used archival miniature paintings, cropped them with the aspect ratio of my iPhone and then digitally collaged images of my queer Muslim friends, my partner and I onto the paintings, removing and obscuring our faces with the original figures from the paintings. I did this to show the visibility and invisibility we live with as Muslim trans and queer folks, while needing to keep a level of anonymity for our safety. I also do this as a form of resistance and to give importance to our experiences as queer and trans Muslims, as traditionally men were considered the main important figures worthy to be archived. I created this series to imagine queer Muslims futures in which we are archived and celebrated. To tie in more layers of the present with the past, I collaged mundane objects from the backgrounds of these original photos, such as streetlamps, my partner’s car and a picnic chair. I also made these digital paintings more accessible for people to view in their original form through their phones or any digital device, creating an artwork and archive that can be more widely accessed in the same way that miniature paintings did in the Mughal era, and in the same way social media affords us today.
"Press (Play)"
Medium: Photography & GIF Video Loop.
Image Collaboration Credit: Hue Yan (he/they)
Size:Varies with Installation, 486x640 pixels.
Duration: 00:06:00
Glimpses of my mental working, anxiety, and self image. When I was exploring the concept more, I turned to the direction of inwards, experiences that lead me to how I viewed the femme experience as a Queer Chinese person in the Western world. Being alone. Being alone. Being alone. Be alone. Be one of them. I played with the concept of being a doll, how I want to do her makeup, how I want to dress her up only to strip myself down, reveal how I tried to embody an idealized image. The repeating, uncanny photos I see on social media influencers, having the Asian beauty standard of pale skin, dark, long hair mixed with the internalized desire for Caucasian features such as a narrow high nose and bright eyes. I ask myself, is that the femininity I’m taught to be attracted to? Is this who I grow to become in order to love myself?
“廖 ” (Liaw)
Medium: Video on Newspaper, Performance.
Size: Varies with Installation.
Duration: 00:01:10
As a method to retracing oral histories and heritage, 廖 (‘Liaw’) navigates transcultural existence through mapping recorded dance movement to recreate the Chinese character of my family name, 廖 (‘Liaw’). My body in motion arrives and fades through stills of myself as a reflexive ritual to understand with my sense of cultural language, while also holding space for queer self-love.
The piece is derived by a video projection of multiple bodies fading in and out to form the shape of 廖. It is projected on a hanging Mandarin Chinese newspaper, inspired by the moment I reconnected with my Great-Auntie Anne (after almost a decade), where she showed my Dad and I how to write our name on any paper she had in her home. A sound recording from this moment with my elders, plays with the piece. Replicating this moment, I practiced writing our name all over the newspaper. Ironically, the Mandarin newspaper translates as a stocks and finance column, which combined with the movement of my body (in the projection) and its practice to reconnecting with my Hakka-Chinese culture, there’s a duality of wealth and investment in the piece. This sacred time with her and my Dad offered the chance to ask questions about the translations of my name, as my Great-Auntie gave me my own Chinese name when I was 12 years old. Resisting time, this work signifies queer Asian diaspora through the reflection and longing for intergenerational kinship, often lacking within Western stories of linguistic displacement and assimilation.
The experimental performance video is developed through raw video source recordings on greenscreen. After keying the footage, I screen-captured stills that resembled the form of the Chinese character. Body movement is generated through analysis of the written gesture and pictorial physicality of the Chinese characters, recorded intergenerational conversations, and Hakka-Chinese translations. Exploring theories of queer temporality within this project, I’m practicing how to write my name through my whole body to interweave experiences of linguistic displacement and queer Asian diaspora. Evidenced in dance-technology, 廖 (‘Liaw’) digitally erodes the discreteness of Chinese characters to embody pluralities of diasporic identity. This work explores the traversal essence of belonging and displacement through the reconfiguring of multiplied bodies of myself.
Chinese characters are one of the oldest written languages, and by reorienting their form through recorded movement, I am re-languaging paralinguistic communication. In connection with my own lived experiences as a first-born, female, mixed-race, queer person working in technology, and within my Hakka ancestry, this installation honours the arrival and departure of language, love, and culture. Hakka translates as guest-peoples. As the migration journey within Asian communities goes farther back in the past, Hakka-Chinese people are not named after a geographical region because they are made up of refugees. As my own family tree shares many broken branches of displacement, I am choosing to work with my own body movement as a material, landscape, and ritual to understand the in-betweenness of my identity and diasporic culture.
"他 - TA" (Gender-Neutral Pronoun)
Medium:Oil Pastels, Watercolor on Paper, Digital Characters.
Size: 3 panels of 12" x 12" inches.
“他 TA” is a triptych illustration I created, using oil pastels, watercolor, and digital media. Historically, the character “他” has been used to refer to all gender and all objects. In modern times, it is primarily used to refer to a male third person; the characters “她” (she) and “它” (it) were introduced later to translate the English words “she” and “it.” In today’s Western world, to respect the LGBTQ community, non-binary individuals use “they” as a third-person pronoun. However, the Chinese language lacks an appropriate equivalent. Therefore, I propose restoring the original meaning of “他” to refer to all genders.
In my work, to further explain this idea, I considered the shape of the character “他” and created three illustrations. Around each illustration, I wrote the four most commonly used Chinese pronouns: “他” (he), “她” (she), “它” (it), and “他们” (they/them). "He" (他), "she" (她), and "it" (它) share the same pronunciation "ta" because they all originate from the gender-neutral pronoun "他," which historically referred to all things regardless of gender. In English, non- binary individuals can use “they,” but in Chinese, “they” is translated as “他们,” which is a plural form. This highlights my intention to restore “他” to its original, gender-neutral meaning.
In the centre of each illustration, I wrote the character “他” in Chinese calligraphy. The first illustration, through the form of the character “他,” clearly demonstrates that “他” as a third- person pronoun has no gender limitations. I extended the character “他” into an image of one person helping another. Inspired by the shape of the character “他” and the form of hands, I created the second illustration. This design draws on the concepts of connection and mutual support within the non-binary community, symbolizing their struggles and resilience. The hands in the illustration represent the bond and solidarity among non-binary individuals, reflecting their journey of challenges and their commitment to supporting each other. Through this work, I aim to convey the strength and unity found within the community, emphasizing the importance of empathy and mutual aid.
The third illustration depicts three people embracing each other, forming the shape of the character “他.” This design not only embodies the concept of unity and connection but also reflects the nuanced use of non-binary pronouns in the Chinese context. The act of three people embracing symbolizes gender inclusivity and fluidity, demonstrating the idea that pronouns can transcend binary gender definitions. By forming the character “他” through a collective embrace, this illustration highlights the importance of community and the evolving understanding of gender identity in modern Chinese culture.
"Privacy. so I threw it away"
Medium:Video, Acrylic Paint, Acrylic Clear Shower Curtain, Performance.
Size: Varies with Projected Installation.
Duration: 00:10:00
In ‘Privacy. so I threw it away,’ I explore the intricate layers of self-identity within the sanctity of solitude, free from societal pressures related to gender and appearance standards. This work was inspired by the discussions surrounding Pride Month and confronts the ongoing struggle of not fully expressing my true self to the world.
Through the mediums of self-portraiture, painting, videography, and installation, I seek to explore and answer the question of how I perceive myself and where I find the most comfort in being authentically me. By bringing my private moments into the public eye, I aim to convey the essence of my daily experiences and emotions. ‘Privacy. so I threw it away’ is a video installation in which I hand-paint a self-portrait onto a clear shower curtain. The video comprises two recordings: one of a ten-minute painting performance and the same video in reverse. This duality represents the act of doing and undoing, mirroring the complexities of self-identity. The decision to hand-paint this artwork emphasizes the intimacy of the process, using a scrubbing motion to apply the paint. This motion echoes the act of washing the body, and through each movement, trails of fingerprints are left behind, symbolizing traces of personal identity.
As a non-binary individual, I challenge the notion that anatomy defines gender, asserting that a body is simply a body, devoid of inherent gender associations. This project is a personal journey to question and reshape my perceptions of the body, reclaiming agency over my self-image. It seeks to highlight the fluidity of identity and the importance of self-acceptance, pushing back against societal norms and expectations.
In sharing this work, I hope to inspire others to reflect on their own journeys of self-discovery and the ways in which they navigate the intersection of private and public identities. Through ‘Privacy. so I threw it away,’ I invite viewers to witness the intimate process of self-exploration and the ongoing quest for authenticity.
“桃花愿” (Peach Blossom Wishes)
Medium: Iron Wire, UVgel, UV light, Nail polish, red ribbon, Nail Rhinestones.
Size: Varies with Site Installation.
As a straight woman and ally, I grew up in an environment lacking gender diversity education, especially in China, where same-sex marriage is not recognized, and gender identity education is scarce. I believe everyone has the right to their gender identity. Through "Peach Blossom Wishes'' (桃花愿), I explore the experiences of the queer community via social media, notable events, and historical accounts of homosexuality in ancient China to discuss the challenges faced by the Chinese LGBTQ+ community and promote gender diversity. "Peach Blossom Wishes'' is a homophone of "Peach Blossom Garden" (桃花源), symbolizing an ideal world of peace and happiness, representing hope for a more inclusive and equal future in China, while exploring past Asian queer narratives and the current media.
Historical examples of homosexuality, such as 龙阳之好 and 断袖之癖, reveal its existence in ancient China and support sexual orientation freedom. Modern societal acceptance of homosexuality is gradually increasing, with significant legal changes like the decriminalization of homosexual behaviour in 1997 and the removal of homosexuality from the list of mental disorders in 2001. However, same-sex marriage remains unrecognized in mainland China, unlike Taiwan, where it was legalized in 2019. Films like "Lan Yu" (蓝宇) depict the conflict between personal identity and societal expectations, while "The Rose Boy" tells the tragic story of Yeh Yong-chi, a Taiwanese student who died after being bullied for his softer personality and hobbies that differed from those of typical boys, highlighting the ongoing struggles of the LGBTQ+ community.
I want to showcase these stories and hopes for the future through my work. As an industrial designer and nail artist, I chose iron wire and rhinestones to create a peach tree sculpture. The twisted iron wire symbolizes the challenges and experiences of the LGBTQ community, while the colorful rhinestones represent gender diversity. The red ribbons on the tree, inspired by the traditional Chinese wishing tree, bear stories from my research. The butterflies, crafted from iron wire and UV glue, symbolize the LGBTQ community and represent the soul in Chinese culture, serving as guides to a 桃花源.
For the final installation, I connected my work with nature. I went to High Park and found a real peach tree, wrapping red ribbons around its branches and my sculpture, then took photos while holding my sculpture. I held it to express support as an ally and because the tree was too large for my small sculpture. The green branches contrasted with the blood-red ribbons, creating a unique feeling. This aligns with my theme, reflecting the current situation and future hopes for the Chinese LGBTQ+ community. The absence of blossoms symbolizes societal improvements yet to be made. Perhaps when same-sex marriage is legally protected, gender equality achieved, and sexual orientation education widespread, these peach blossoms will finally bloom.
"Constraint"
Medium: Cleaning Rags, Sponge, Net, Cellophane, Rubber, Nylon Stockings, Nails, Cotton, String.
Size: Varies with Print and Installation Projection.
As an Asian female artist the "Constraint" project is a close reflection on objects of image collection that delves into the theme of women's subjugation, with a particular emphasis on the Asian female experience. I draw inspiration from the women in my personal sphere and the broader Asian community, uncovering the multifaceted nature of the symbolism of bondage that women often encounter. I reflect on the societal perceptions and expectations that shape how Asian women present themselves and are viewed, revealing a complex web of constraints.
My keen observation extends to the historical context, examining how women have been depicted in patriarchal Asian societies and the ongoing impact of these portrayals on my current status. To capture the essence of these constraints, I had experimented with a diverse range of materials and textures that are readily available in everyday life, symbolizing the pervasiveness of these issues.
Through these images, I not only documents the visual manifestations of female bondage towards objects that suppressed our roles and ideals but also transcends the role of photography as a mere record-keeper. The images serve as a platform for viewers to engage with the sculptures, inviting them to build their own narratives and interpretations. Each photograph becomes a space for personal reflection and understanding, allowing viewers to connect with the sculptures on a deeper level.
In this series, I curate and transforms mundane objects into thought-provoking sculptures that challenge the viewer to confront the discrimination and challenges faced by Asian women. A commentary on the societal constraints that shape the lives of Asian women, urging a reevaluation of these norms and a call for greater recognition and respect for their autonomy and individuality.
"When Cupid Loved A Lily"
Medium: Digital/Analog, Paper, Ink.
Size: Varies with Cellphone Screen.
Duration: 00:00:55
This project contains a piece of creative writing and a digital collage/slideshow. My goal was to make a piece of mixed media that I wouldn’t normally be allowed to make in my Illustration courses. Though I’m unsure whether to categorize my writing as poetry, the genre really resonates with me outside of school, so I thought I’d attempt to dabble in it myself. In an attempt to abstractly share some of the thoughts and feelings I have about being on the Aro/Ace spectrum, I wanted to connect a piece of writing to Aromanticism and its version of love.
What’s important to me is that people understand the necessity of shared experiences, especially when labels and sub-labels of queerness are not yet openly accepted, talked about, or represented in the same ways some of the LGBT labels are.
The mediums I used became both digital and analogue, as I frequently swapped between each of them. I started out with writing on a google doc and then printing several times so I could write out my thoughts as well. I then cut out the printed story/poem into strips and scanned them back onto my phone so they looked analogue once I added them to my digital collages, which I kept simple so as to not distract too much from the writing. As an extra, I turned the images/collages into a slideshow as an example of how one might experience reading it. The aesthetic was intended to be natural, green, and appearing as though it was partially hand-made (kind of like a scrapbook quality). I originally drew some illustrations in my textbook to add to the slides, but they became too distracting (in terms of readability) so I got rid of them.
Now that I’m looking back on this project, I can state I attempted to critique the assumption that love is purely romantic in creating a piece of media with implied aromanticism through symbolism, metaphor, and irony (hence why it’s about Cupid). To be honest, my thought process originally stemmed from feelings of frustration I was (and still kind of am) having about trying to keep close friends in a culture that devalues platonic connection as beneath that of romance. I’ve lost several friends, and my best friend recently, due to us having different hierarchies of love, and that’s... disappointing. Since I’ve never really attempted to confront these feelings before, I took this as my shot at making something that the majority of people won’t understand.
I feel as though this work encapsulates a bit of who I am because (at least, I assume) I’m the only one who will fully understand what it means to me and my experiences. The thing with figurative language is that it leaves a lot of room for interpretation, which is what I like about it, since it means my words won’t be confined to my intentions. I really don’t mind if someone reads a story about Cupid gazing from up in the clouds upon a flower wasting away as romantic, because if that’s what resonates with you, then that’s what the art is for. However, I like leaving things ambiguous (gender/pronouns neutral for some subjects and love undefined as platonic or romantic) for those of us who consume media that doesn't align with our identities.
"We Look Good In Black"
Medium: Digital Archive Platform in Instagram. Instagram will be the primary platform for the Black Fashion Archive, leveraging its visual centric format and broadly reach to engage diverse audiences. Content materials includes images, videos, written captions, and interactive features to provide a multi-dimensional exploration of Black fashion.
Instagram: @welookgoodinblack
Size: Varies with Cellphone Screen.
Length: The project will be ongoing, with regular updates and additions to the archive to ensure its relevance and dynamism
The Instagram Black Fashion Archive is a pioneering digital initiative that celebrates the vibrant diversity and cultural significance of Black fashion. This curated repository serves as a visual homage to the creativity and resilience of Black communities, showcasing a rich tapestry of images, videos, articles, and personal narratives that span across time, geography, and culture. By uncovering hidden histories, amplifying marginalized voices, and collaborating with Black fashion scholars and practitioners, the project aims to provide a dynamic and inclusive exploration of Black fashion, ensuring its legacy is preserved and celebrated for generations to come.
The artistic process behind the Instagram Black Fashion Archive involved a meticulous curation of visual content, including images, videos, and written captions, to showcase the diverse expressions of Black fashion. Collaborations with Black fashion scholars and practitioners added depth and authenticity to the archive, ensuring a rich exploration of Black fashion history. The use of interactive features and engaging storytelling techniques enhanced the artistic experience, inviting audiences to immerse themselves in the vibrant world of Black fashion through a digital lens.
Possible future directions for the Instagram Black Fashion Archive could include expanding collaborations with Black fashion scholars, practitioners, and communities to further enrich the content and perspectives within the archive. Additionally, incorporating virtual reality or augmented reality technologies could offer innovative ways to engage audiences and provide immersive experiences with Black fashion history. Exploring partnerships with educational institutions or museums to integrate the archive into academic curricula or exhibitions could also broaden the project's reach and impact.
My artistic practice revolves around exploring the intersection of home, the body, and the journey towards freedom throughout multiple mediums. Inspired by the huge brutality of macrocosms and my own fleeting moments of personal recollection, my work seeks to capture the essence of these themes in a compelling and evocative manner.
Central to my process is a deep engagement with the political world. Whether through self-study or community-based initiatives like mutual aid groups, boycotts, or even a decolonial book club, I like to immerse myself in new worlds that are closer to my imagining of what social justice can be. These universes become the foundation upon which I build my art practice that hits upon a broader universal truth.
"Fearless Love"
Medium: Digital Drawing
Size: Varies with Viewing Screens.
“Fearless Love,” is a digital work to show the courage and confidence of a lady longing to be part of the LGBTQ+ world. This issue is closely tied to my work because as an ally I want to express respect and support for the Queer communities through my work while also depicting a private world.
This work is executed using the accessibility and immediacy of the digital media. The Asian female figures are placed against a bright lake with warm background hues, in order to create a visual experience full of hope. To enhance the idea I placed butterflies in the lake, which expresses recognition, transformation, flight, and blessings from family and friends. In this painting, I used the lake and the reflection as the main objects, setting them in a peaceful, symbolic space. The colour of the lake symbolizes the diversity and beauty of the LGBTQ+ communities, while the reflected water represents echoed hearts.
The overall concept of this piece is to express the inner longing of Queer narratives and their courageous pursuit of futurity. I hope to face up to social prejudice in my work and convey support and understanding through injustice. I believe visual narratives is not only a kind of artistic expression, but also a tool for social change, so I hope to draw the viewer's attention and thoughts to the issue of longings through this painting.
"Sanctuary in the Shadows"
Medium: Painting on Wooden Board.
Size: Varies
In my recent work, a painting on a vertical wooden board, I explore the deeply personal and often painful experiences of body dysmorphia, self-identity struggles, and the toxic beauty standards that permeate society. This piece features a towering tree, its massive trunk teeming with distorted monsters that appear to be reaching out in agony. These monsters, emerging from the mother tree like grotesque fungi, embody the internal chaos and suffering that body dysmorphia inflicts upon individuals. Their unsettling and painful visages are a reflection of the torment that distorts one’s perception of self.
At the apex of the tree, a serene and compassionate motherly face looks down upon the monsters. Bathed in a holy light, this face exudes a Buddha-like tranquility and serves as a symbol of the nurturing and accepting aspect of self-love. This mother figure represents the higher self, the part of us that offers solace and acceptance amid the turmoil. She embodies the nurturing force that cradles our fragmented and suffering selves, offering a gentle wave of comfort after the storm of self-criticism and despair.
The tree trunk, representing oneself as a whole being, conveys the complex interplay of our many parts. The overall tone of the painting is dark and earthy, mirroring the deep, often hidden struggles faced by many, especially within the queer community. Body dysmorphia is a pervasive issue, as common among queer individuals as it is among women. The pressure to conform to arbitrary beauty standards and the internalized shame associated with one's body can lead to a fractured sense of self. This experience is compounded for queer individuals, who may already grapple with societal rejection and the complexities of gender and sexual identity.
In creating this artwork, I aim to communicate the shared pain and resilience within the queer community. The distorted monsters represent the many versions of ourselves that suffer under the weight of societal expectations and personal insecurities. Yet, the motherly figure at the top symbolizes hope and the possibility of self-compassion and healing.
Through this piece, I hope to resonate with the queer community who face similar struggles and to contribute to a broader conversation about mental health and self-acceptance within the queer community.
"Meni/Many"
Medium: Multimedia Collage, Canvas, Pipe-Cleaner, Crayons, Stickers, Strings, Acrylic.
Size: Height 27.5" x Width 25.5" Inches.
Duration: 00:00:17
‘Meni/Many’ is an examination of the unconstrained identity, thriving outside of heteronormative ideals and societal expectations. The title is an homage to my grandfather, who is learning English as a second language, and his tendency to misspell words. Like all humans, I am a complex and multifaceted being—however, as I have gotten older I have been taught to stifle particular aspects of myself, or reduce myself to a palatable and socially acceptable caricature. I have been taught to behave how a woman ‘should’ behave, to squeeze myself into the box that my Asian/Afghan family expects me to be, and to conform to the world’s idea of bisexuality. When I was a child, however, none of this mattered to me; I could be as many things as I wanted, and all at once. I was not yet accustomed to censoring or curating my identity or artworks. ‘Many/Meni’ is a return to the disinhibition I possessed in my youth, and focuses on simply being as I am rather than moulding myself into what I am expected to be. This applies to my creative practice as well; letting loose and letting my art be ‘ugly’ or ‘imperfect’.
This project was made entirely at home, with materials that I already possessed. I chose materials that would have been accessible to me as a child, such as Crayola crayons, pastels, paints, and stickers. As well, I pasted deconstructed boxes of candies I enjoyed as a child, mimicking that idea of deconstructing the standards imposed onto me by society. Using these nostalgic objects and working in the familiarity of my home put me into the headspace of my inner child, and allowed me to work freely. I was no longer trying to create something palatable or perfect, or create art in ‘the right way’ or to use the ‘proper materials’. Instead, by omitting any expectations or preconceived notions of my femininity, Asianness, and/or bisexuality, I was able to spill myself out onto the canvas. I believe that this raw expression of self, and unconventional creative practices are powerful ways of creating space for our true selves.
This work was created in two hours while some of my favourite childhood shows played in the background. My goal was to get rid of my idea of how I was meant to use certain materials, even the canvas itself. I flipped it around, working flat on the floor on my hands and knees. I took items that I was familiar with and used them in unfamiliar ways, such as taking apart cotton pads and pasting them on the canvas, drawing on ribbons, and creating a hole in the canvas stitched back together by blue and pink string. The most important factors for me were the colours I used, the lived-in and nostalgic materials, and my own process. The work is a multimedia collage while also being a 2D sculpture. I would love to see this potentially become a live performance piece or an interactive piece as well, allowing people to add their own materials and objects as well.
"Reclaim"
Medium: Mix Media, Wooden Grid, Lino Prints.
Size: Varies with Installation
The concept for the project is to reclaim queer identity and memories. This was inspired by my personal journey in accepting my queerness as a queer Filipinx as well as seeing fellow queer Filipinx and the queer community in general reclaim parts of their identity. As a child, I grew up with the impression that being gay or anything out of heteronormativity was a bad thing, followed by Catholicism that had already condemned me to hell, and family members constantly asking us kids “Are you bakla?” if we touched or did anything out of the gender normative and ideals. Then when, I did come out as bisexual, I was met with a look of distaste and being told “You’re still young, you’ll figure it out, you haven’t experienced life yet.”. These narratives and experiences instilled fear and seeds of doubt and uncertainty in my identity as an individual and in my queerness. However, this project is to reclaim queer identity and these negative memories and recreating it into a positive.
Pabitin or what I know as a Filipino pinata is a party game during birthday’s where children would gather and jump to grab a loot bag filled with toys and candy that were hung on bamboo sticks. For us kids, it was a fun and strategic game because we all knew which loot bag we wanted. This fun memory is what I want to incorporate in reclaiming Filipinx queer identity. As the fear in claiming queerness and the doubt that is perpetrated at a young age is contrasted by this celebratory game where us kids know with certainty in what we wanted.
The mediums and materials for this final project will most likely be a lino print. However, I would like for there to be room to explore and play around with different mediums and materials, such as collages, drawings, watercolour, and using different types of paper and/or fabric.
"Temporary"
Medium: Photography, Lollipop, Dandelions.
Size: Varies with Projected Installation
The topic of LGBTQ+ has always been considered "taboo" in China, and there are still polarized views. But in my opinion, we can become a minority at any time, so we should treat others with empathy. I try different series to show the current situation of LGBTQ+ and the process of inner struggle.
In China, sexual minorities have always been a marginalized and ambiguous group, and the government has always adopted an attitude of neither support, opposition, nor promotion. This has led to the sensitivity and marginalization of the LGBTQ+ community. In this work, I want to express the beauty of difference and equal acceptance. Dandelions, being able to spread and grow in new places, represent the spread of love, acceptance, and understanding. Each lollipop is unique and colourful, representing the expression of multiple identities. I show the invisibility and presence of the LGBTQ+ community in China through dandelions and lollipops. Lollipops represent childhood, representing LGBTQ+ people's awareness of their gender from a young age. The first meaning of dandelion represents the adult, dandelion is the embodiment of the growth process. The second meaning represents hope, the diffusion and spread of ideas.
I used dandelions and different coloured lollipops to complete the work in the form of photography. First, I found a ground full of gravel and inserted dandelions and lollipops into the gravel, respectively, a metaphor for the difficulties LGBTQ+ people face in China. My use of a top-down view can be understood as a God view, because many LGBTQ+ people in China hide themselves and do not want to show too much that they are out of touch with the public.