Backstage at Deathwatch, I felt a rearticulation beginning in the vocabularies of everyone there.
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A love letter in soil-loving solidarity.
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Set in the outer suburbs of Melbourne, this film acts as an enticing representation and characterisation of coming out in a society where homophobia has become socialised.
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Oakley’s directing is subtle and effective, with clever use of sound and lighting to contrast the two major settings at Jean’s school and the nightclub, which are the symbolic fronts of the heteronormative and queer environments that she arbitrates between.
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This installation is also a showcase of my appreciation for my two cultures as well as the difficulties I have avoided as a queer woman by growing up in Australia.
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Self portraitures express our creative and romantic partnership and journey and the way it mingles with our identities as queer and POC couple.
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In a world where labels and definitions equal success, 'They/She' visually portrays the undefinable through the lyrical limbs of the model, Archer Rose, in 35mm film format.
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This body of work is my personal visual haiku (俳句) to invite viewers to pause and perceive moments of beauty that are impermanent and imperfect.
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A queer and Black history of white background music videos.
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