Performance
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Performance 〰️
performance stands as the pulse of my practice, the place where my dispersed artistic impulses gather, collide, and take shape. through the exploration, enactment, and embodiment of varied modalities of queerness, my performance work summons a fluid chorus of characters and gestures. these shifting figures serve as vessels for the social and political critiques that guide my inquiry, allowing such critiques to unfold not only through thought or rhetoric, but through the resonant textures of the body—through presence, breath, and the ephemeral poetics of becoming.
town crier
an ongoing series of site-specific interventions performed by a character whose presence is intentionally crafted to be “bad for business.” the crier, bearing a signpost draped with hand-made text-on-fabric declarations, responds to the social and cultural conditions of specific sites across miami—from the design district to wynwood. through these localized actions, the character examines the forms of marginality produced at the intersection of economic pressures and identitarian expectations, revealing how place, power, and persona co-construct the ways in which the urban landscape unfurls, especially around the issues of gentrification and displacement.
the harbinger
the cryptid
“the harbinger” is an atmospheric figure conceived as an omen of impending crisis, emerging from miami’s intensifying climate precarity. the character debuted in a commissioned work at the deering estate, enveloped in blue tarping painted with a weathered emergency-orange pattern. in this guise, the harbinger embodies the vernacular signs and symbols of catastrophe familiar to those of us raised in south florida. adorned with brass bells and carrying one in hand, the figure does not speak; it billows and wails through the activation of its bells, summoning attention and demanding recognition of the threats and conditions it gestures toward.
“the cryptid” is a compulsion to render the ineffable into embodied form. through my ongoing engagement with transhumanist perspectives, the cryptid enacts florida mythologies, using my body as a conduit through which desire, need, and queerness can be expressed. queerness here is not merely thematic but operational—a modality of being that informs the creature’s movements, gestures, and presence, challenging normative boundaries of embodiment. first appearing in a collaborative performance at the miami beach botanical garden, the figure draws on diverse spiritual and mythological traditions to imagine a character or creature in ecstatic, transformative motion. hundreds of bells woven into the costume render the cryptid not only visual but sonic: each movement punctures the monotony of public space, asserting a disruptive rhythm that insists on attention. these bells, resonant and tactile, also carry a lineage of post-catholic appropriations, evoking ritual, devotion, and collective memory while being reconfigured within a queer, transhumanist framework—an invocation of sound, spirit, and the uncanny that refuses containment.
