DAYS END IS A DARK DISCO  AND A PUBLIC WATERING HOLE
Staged as four separate vignettes, the exhibition interweaved the work of queer photographer Alvin Baltrop, 1980’s fashion magazines, and art historical writing with my own personal archive of paintings and fantasies. The title DAY’S END directly references the 1975 architectural intervention by straight artist Gordon Matta-Clark. For his Day’s End, Matta-Clark cut three large holes in the building facade at Pier 52 in New York City. Art historical writing that speaks of this work explains that these piers were abandoned, but what they leave out is that these spaces were full of queer people looking for community, safety, and sex.
In response, my DAY’S END calls upon the collective memory of our great divas, dikes, faggots and queens and asks in what forms queerness hides and exposes itself. Exploring my own desire to find a place within a queer lineage, I have spent the last six months walking former cruising trails, painting directly from the work of queer photographers and compiling an extensive digital archive of queer traces.