The aestheticized figuration of the ‘alien’ bears the weight of the marginal experience of queerness. Additionally, these images begin to archive the individual practices in which we find comfort despite alienation–conversing with a queer visual culture. From the creation of new mythologies and beliefs, to the entanglements of chosen family, I render my subjects as part of a broader community of queer people through a diasporic approach. I produce a visual response through conceptual photography that provides new visibilities to the margins, prioritizing love and community.

  

Road To Solace

Las Enseñanzas de Gualter (Gualter's Teachings)

The aestheticized figuration of the ‘alien’ bears the weight of the marginal experience of queerness. Additionally, these images begin to archive the individual practices in which we find comfort despite alienation–conversing with a queer visual culture. From the creation of new mythologies and beliefs, to the entanglements of chosen family, I render my subjects as part of a broader community of queer people through a diasporic approach. I produce a visual response through conceptual photography that provides new visibilities to the margins, prioritizing love and community.

  
Leonardo's 'The Last Supper' has always represented the value of a family that chooses itself and its beliefs. Within this appropriation of the image, my iteration contests the sacrilegious values of queerness and its constructions under catholicism and conservatism. Moreover, my take relishes in the comforts of senselessness, that which is ridiculous, and anything obscene; privileging the erotic.

The Last Supper

The aestheticized figuration of the ‘alien’ bears the weight of the marginal experience of queerness. Additionally, these images begin to archive the individual practices in which we find comfort despite alienation–conversing with a queer visual culture. From the creation of new mythologies and beliefs, to the entanglements of chosen family, I render my subjects as part of a broader community of queer people through a diasporic approach. I produce a visual response through conceptual photography that provides a new visibility to the margins, prioritizing love and community. 

Chosen Family

The aestheticized figuration of the ‘alien’ bears the weight of the marginal experience of queerness. Additionally, these images begin to archive the individual practices in which we find comfort despite alienation–conversing with a queer visual culture. From the creation of new mythologies and beliefs, to the entanglements of chosen family, I render my subjects as part of a broader community of queer people through a diasporic approach. I produce a visual response through conceptual photography that provides a new visibility the margins, prioritizing love and community. 

Beneath Their Wings

The aestheticized figuration of the ‘alien’ bears the weight of the marginal experience of queerness. Additionally, these images begin to archive the individual practices in which we find comfort despite alienation–conversing with a queer visual culture. From the creation of new mythologies and beliefs, to the entanglements of chosen family, I render my subjects as part of a broader community of queer people through a queer diasporic approach. 

shared soil–whispered lessons

Public and private discourse is always present when it comes to exposure of homosexual affection. In this image I capture a lovey-dovey moment with my partner and remember the idiom of 'comiendo gallina': a Dominican saying used to define transgressive exposure of affection by a couple's focus on each other.

Comiendo Gallina en Crown Heights (Being Lovey Dovey in Crown Heights)

You and I are The Cure

Captors of Love

'Maria's Divine Intervention' contends with the role of Mary within the canon as it pertains to the subject of queer righteousness. The invocation of the Divine is a tongue-in-cheek remark as the makeup and posing of myself in the self-portrait references the drag queen Divine in the 1972 film 'Pink Flamingos.'

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