A nonbinary person grapples with their unintelligibility in a monologue addressed to their peers and family—a step toward self-definition in the face of those who deny it, the film’s audience a stand in for those who could not hear it.

A Poem to Everyone in my Life Who Misgenders Me (and thinks it’s no big deal)

This piece focuses on being Non-binary Transmasc going through the "before" stages of getting top surgery and deals with the issues with the self, on being validated in day to day life and queer existence and being seen. Talking about the reality I share with the rest of the world and the reality that exists in my head. 

Combining everyday imagery where the stated reality has been documented in physical form yet the way that I remember the moment in a diﬀerent way. In this piece I focus on my poetry and low-ﬁ everyday phone edit to capture the everyday doodles and thoughts that are continuous, very much how this piece was created. Looking back and already letting go oﬀ the past me and
growing into a newer transition state within the mental as well as the physical.

Being Real by Not Being Real

 is a 40 minute film following two nonbinary trans femme friends as they explore London, talk about trans femininity and connect over their shared views and experiences as trans femmes. The film captures the feeling of finding community and understanding as a trans femme and acts as a documentation of a moment of trans joy.

Dollhood

is a short animated music video celebrating trans joy, trans love, and trans existence. It's made using a combination of analogue and digital animation techniques, including 35mm ﬁlm photography, rotoscoping, and traditional frame by frame animation.

FLORESCENCE

In this two-chapter project I piece together the progression of my HRT process, using voice documentation and virtual scenarios to recognize physical and psychological changes. Both chapters are chronological evidence of a -one year- gender affirming experience dating back to pre-testosterone days, when I first envisioned my nonbinary avatar inspired by my deepest dreams.

How to Make an Avatar & Render my Body

Non-binary, trans and genderqueer audience members discuss coded and direct non-binary, trans and queer representations in film, spanning from the earliest films to the most recent.

In Their View

If you saw the younger you, what would you say to them?
I would say, "Thanks." I would say "Peace"
I'd tell "Soon child, you're going to find release"

Know Yourself

Through interviews with three trans individuals, 

 examines how masculinity has the capacity to bring both utter joy and harsh double standards to those who are living their truths. 

This documentary complicates the common narratives of transgender lives by incorporating discussions of societal expectations and non-binary identity into the conversation.

MASC

 is a performance-for-video in which I project the one photograph I have of my maternal grandfather onto my face. Having passed away when my mother was nine, I never had the opportunity to meet him. Due to tragic events, my mother had lost all of her personal belongings and family photographs after having already moved to the states, and this image is the only one that has survived. Because of familial disconnection following my gender transition, I do not have contact with the majority of my family on her side. In this performance, I look for genetic similarities using technology and a broken mirror. I question bloodlines, ancestral relationships, and challenge the very idea of ‘disconnection’ from those we are eternally and inherently connected to.

Mi Abuelo y Yo (The Only Image)

"I love this song. I love everything about how we made it, I love how it feels to deliver these lyrics and how it was to shoot the video. I am so grateful for the amount of energy raised by everyone involved. There is power in showing up for yourself and showing up for your people. I hope this song powers you up. I hope it moves you. Take courage my friends we got this x"

Statue In The Square

TRANSformazzjoni is a documentary that provides an insight into Trans* peoples’ everyday lives in Malta. The documentary puts a spotlight on 5 Maltese Trans* people from different walks of life giving full visibility to a wide range of people in the Trans* community, which all represent a section of Maltese society and to which different people can relate to.

TRANSformazzjoni 

To celebrate a century since Brendan Behan’s birth, the Abbey Theatre is proud to present a modern take on 

To the tune of ‘The Auld Triangle’, the play centres on the arrival of a condemned murderer to Mountjoy Prison, whose diverse inhabitants offer a darkly comic mirror to life outside its walls. In this exciting new production,  traditionally played by cis men this play is exclusively played by women and gender non conforming actors. 

For this production of Brendan Behan’s "cis-male" prison play, we’ve put together a company of women and non-binary performers, with diverse backgrounds across performance styles, including drama, performance and cabaret, to inhabit Behan’s cis-male prison setting. We draw on the whole tradition of cross-gender casting in the theatre, and a long history of male impersonation, from the trouser roles of baroque opera, and the music hall performances that Behan grew up with, up to contemporary drag kings. Drag as a performance style is simultaneously ironic and sincere, in which the truth of the underlying performer and of the character exist simultaneously in front of us, and which reminds us that identity is fluid and we are all constantly taking on and enacting different identities. In this production, it draws attention to the different kinds of masculinities that the characters in the play perform for each other, in order to maintain their status in a prison hierarchy in which everyone, staff and inmates alike, is institutionalised.

The play is clearly set in a specific time and place – Ireland in the mid-20th century, with the new state relying on systems inherited from the old empire, as well as new ones created hand in glove with the Catholic church, and a particular enthusiasm for the death penalty. While times may have moved on, it’s particularly striking to hear one of the older prisoners remark that life in prison might be preferable to sleeping on the streets, after walking past doorways on the way to the theatre in which people huddle for shelter. For this new production, we have tried to imagine spaces which vibrate between past and present, letting the play resonate with its own place and time and also across time and space to include other spaces in which people of all genders have been and still are incarcerated and institutionalised. Behan has wryly noted that the whole of the nation and the whole of society can be found in prison, so a polyphony of accents and social classes can be heard and observed. On visiting Mountjoy Prison during the rehearsal process, it became clear to us how the gallows humour of the play is part of the daily life of the prison, a coping mechanism to survive.

During rehearsal, I’ve felt strongly that 

is a play about survival, and all the things we do to try to survive the systems in which we are required to operate: masking trauma with humour or alcohol, playing out different roles and relationships, carving out space for small acts of rebellion, kindness or solidarity. The main event of the play – the execution of the title character at dawn – takes place out of sight and off stage, entirely out of the control of any of the characters – but everyone we encounter over the course of the play is impacted by and implicated in this event.

As we near midnight and the offstage death of the quare fellow becomes inevitable, a kind of improvised wake spontaneously takes place in the prison yard. A few bottles of stout are opened, and songs both spiritual and secular are sung. What might we do to stave off suffering? How might we pay tribute to lives lost, however brutal or neglected? 

opens a space for us to be together, in joy and hardship, on a winter’s night in Dublin, to reflect on past, present and future, and what we do to survive.

The Quare Fellow

NOW I CLOSE MY EYES THE WORLD I SEE IS SO BEAUTIFUL

 samples lines from the Taiwanese New Wave ﬁlm Yi Yi, and those borrowed words, those intergenerational whisperings in Chinese dialect, had me pondering at how ancestors and descendants create bridges — across time, and if you’re diasporic, across global space. 

These bridges feel all too easily invisible to me, but what would it look like if we were strolling on them? What if we jumped off? Would we create another bridge, or open up a new dimension?


The music video begins with me undergoing a self-conducted ritual, shaving my head to the bare scalp. I initiate a process of remembrance and imagining, and what follows are the adventures the many versions of my 爷爷 / yeye / grandfather and I have, roaming around together in different worlds. In our shared, “objective” reality, this man’s fondness brimmed at his eyes, never spilling over, careful not to stain. In the parallel dimension of this music video, we go on the journeys we were never able to, promenades becoming quests in the numerous destinations of Second Life.


We relive the moments never captured on camera, aided by Google Street View. Images of us are projected on my skin, and shining these memories in their reverted form of captured light, I absorb their meaning once again. I ingest these moments, feeding on them, nourishing them and nourishing myself on them, thus keeping the portals open to the worlds beyond, within, and between.

Categories

Non-binary