publications
The Power of Saying “Nonbinary” in a Southern Accent
My essay All Them That Don’t Call Me They was published on them.com. This work is available in print in Y’all Means All, a collection of essays about Appalachian queerness, a book published by PM Press.
The Language of Vessels
This short essay was published by Wolfman Books in New Body in 2019, a book of essays and poems responding to an exhibition at CTRL+SHFT Gallery called Social Objects curated by Emilia Shaffer-Del Valle
Break Your Voice is a hand-bound letterpress book that explores the relationship of gender-non-binaries and voice through the lens of ventriloquism. This book was created with the generous support of a Space Residency, a Pickwick Independent Press Fellowship, and an Open Windows Residency (sponsored by Southern Exposure’s Alternative Exposure grant)
selections from performances
Respite Station with Luan Joy Sherman
1-month collaborative performance practice, 2019
Respite is a space of rest that makes it possible to continue, like a rest between reps. This collaboration seeks respite a for a new masculinity through exercises of companionship such as (often missed) high-fives.
Voice Euphoria Hour is a lecture/performance given at Living Room Light Exchange, at Performing Screens/ Screening Performance a conference on New Media & Performance at CUNY NYC, and at the 2019 New Media Caucus conference Border Control.
Please click the title or image for a transcript of the performance.
GIF sex is a short piece written by sair goetz for the theater performance of I’m Very Into You, directed by Sara Lyons
Selections from time-based media,2015-2018
the above video contains clips from the following artworks, click the image to learn more about each artwork
me and my army
9 min, 3-channel video loop, installation with scissors, 2016-2018
Re-imagine the experiences of the actress Adrienne Corri — most famous for her role as a rape victim in Stanley Kubrick’s A Clockwork Orange — through the appropriation of actions from historical works of feminist art.
hold my tongue
30 min, one-on-one performance, 6-channel documentation, 2016
Individuals are knowingly recorded while they unknowingly re-enact and rewrite an event one-on-one with the artist, led by cards that are both disclaimer and instruction. Mid-reenactment, the participant holds the artist’s tongue while the artist describes an event of sexual violation. The reenactment performance ends when the participant does not hold the artist against a car.
good bi (dialog device, sketch #2)
10 min live performance, 2017
A live performance using dialog devices to attempt the silent communication of bisexual invisibility.
IVE CHANGED
1 hr performance, 2016
The artist and 20 friends carried 10 50-lb ice letters I, V, E, C, H, A, N, G, E, D into the Olentangy River, where the artist held them against the current until they melted. In this work, the artist began a quest to use only neutral-gender pronouns in their speech and self-description.
hold yr tongue
15 min, 26-channel video loop, 2017
The artist talked around an abecedarian list of objects while attempting to talk about an event of violation. The work found comedy and tragedy in these acts of overcoming silence.
there there
5 min, single-channel video loop, 2015
Created for the Byrd Polar and Climate Research Center, this ephemeral sculpture / text-performance explores lines between frustration and apathy when confronting issues like global warming.
a mothers touch
1 hr performance, 2015
The artist and their mother attempted to make up for years of disownment through communal care of a piece of cast glass resting atop a piece of cast ice.