I am a 23-year old artist based in New York.
My art “practice” used focused on stereotypes of the Asian Bottom in gay sex. Inspired by Paul B. Preciado’s countersexual manifesto, I considered the plasticity of sexuality and gender, flexing them to distort the binary of penetrator and receiver.
Compelled by “radical” queer and feminist scholars to make the personal political, I looked at my body as a site of violence along dimensions of strict identitarian markers. Evident in Unititeld (Phantasmic Phallus #4), I skewered myself with a red, phallic arc and wrestled with the flatness of both my cartoon double and surrounding landscape.
While there may be evidence of state repression on my body, it’s marginal. And localizing such violence to myself promoted a certain liberal, masculinist pursuit of liberation, which Jasbir Puar critiques in Terrorist Assemblages. Even more consequential, my understanding of queerness relied heavily on postmodern metaphysics and failed to adequately incorporate a material analysis of how imperialism contributed to the emergence of these stereotypes.
Protesting qualitatively changed the way I thought about art. Realizing its limitations to actualize social change, I turned to organizing and studying texts from the likes of Marx, Lenin, Mao, Huey P. Newton, and J. Sakai.
But in my pursuit of being a “good” organizer, I found myself constantly failing. Developing marxist critiques of objects external to oneself may seem easy, but it requires the subjective individual to simultaneously confront their complicity to the expansion of capital and its genocidal impact around the globe.
To attend to such shortcomings, it is necessary I undergo rigorous self-critique to act in more principled ways. The art I create now is detritus from my spars with internal contradictions as I create a stage for them to interpenetrate one another both antagonistically and non-antagonistically.
Works like Flaccid (W)hole uses paper cutouts, breeze blocks, and silhouettes to make a medley of selves in a constant state of becoming and unraveling as I try to find the kernel of ration in my metaphysical shell; my cartoon double simultaneously supports and cracks my negative being out the blocks it’s defined by. Inspired by the dialectics demonstrated in William Pope.L’s Hole Theory and On Contradiction by Mao Tse-tung, I attempt to find fulfillment in unfilled spaces, resist resistance, and poke holes in my character.
My art “practice” used focused on stereotypes of the Asian Bottom in gay sex. Inspired by Paul B. Preciado’s countersexual manifesto, I considered the plasticity of sexuality and gender, flexing them to distort the binary of penetrator and receiver.
Compelled by “radical” queer and feminist scholars to make the personal political, I looked at my body as a site of violence along dimensions of strict identitarian markers. Evident in Unititeld (Phantasmic Phallus #4), I skewered myself with a red, phallic arc and wrestled with the flatness of both my cartoon double and surrounding landscape.
While there may be evidence of state repression on my body, it’s marginal. And localizing such violence to myself promoted a certain liberal, masculinist pursuit of liberation, which Jasbir Puar critiques in Terrorist Assemblages. Even more consequential, my understanding of queerness relied heavily on postmodern metaphysics and failed to adequately incorporate a material analysis of how imperialism contributed to the emergence of these stereotypes.
Protesting qualitatively changed the way I thought about art. Realizing its limitations to actualize social change, I turned to organizing and studying texts from the likes of Marx, Lenin, Mao, Huey P. Newton, and J. Sakai.
But in my pursuit of being a “good” organizer, I found myself constantly failing. Developing marxist critiques of objects external to oneself may seem easy, but it requires the subjective individual to simultaneously confront their complicity to the expansion of capital and its genocidal impact around the globe.
To attend to such shortcomings, it is necessary I undergo rigorous self-critique to act in more principled ways. The art I create now is detritus from my spars with internal contradictions as I create a stage for them to interpenetrate one another both antagonistically and non-antagonistically.
Works like Flaccid (W)hole uses paper cutouts, breeze blocks, and silhouettes to make a medley of selves in a constant state of becoming and unraveling as I try to find the kernel of ration in my metaphysical shell; my cartoon double simultaneously supports and cracks my negative being out the blocks it’s defined by. Inspired by the dialectics demonstrated in William Pope.L’s Hole Theory and On Contradiction by Mao Tse-tung, I attempt to find fulfillment in unfilled spaces, resist resistance, and poke holes in my character.