Culture has been constructed to exclude the the categories of nonbinary, genderqueer, and queer persons— as someone frequently ‘othered’ for those identities, I am keenly aware that I am not the intended, assumed-default audience.
Given that cultural products function as a kind of mythology-- that is, a set of stories that explains the world in a way consistent with or that reflects the experiences of the people doing the telling and the hearing-- this lack of representation is a profoundly negative source of alienation.
Nevertheless, I find myself drawn to these stories anyway. I do what many before me have done; I cross-identify, I 'queer' them into a place of recognition, I read into them in such ways as to adapt them to my queer experiences.
I think that some form of the idea of intersectionality is more widely applicable than its typical use would imply, and that when two people with wildly different backgrounds and experiences and conceptions of the world can communicate at all, it is miraculous.
As such, it seems that the most temporally consistent and relevant thing I can offer to an audience is the opportunity to experience culture as I do— as something alien to interface with. My imagery is sourced from an internal system of iconography developed through years of aggregated art historical research, mass & sub cultural consumption, and interpretive idiosyncrasy. I filter my experiences and concerns into allegorical drawings, peopled with zoomorphic characters who are proxies for larger cultural concepts. The resulting pictures— cultural products— are highly specific to my experience as a subject, and thus less translatable to an external audience. Individual symbols are likely to be legible, but their context will be unfamiliar, allowing viewers a opportunity for cross-identification.