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DESKTOP PERFORMANCES
IDIOT PLOT DEKSTOP, 2025-present
a choose-your-own-adventure desktop performance where the audience collectively selects [chaotic] but actually *curated* folders off my large scale projected dektop to enter. Idiot Plot Desktop explores the formation, circulation, & documentation of queer online identity, relationality, & digital memory through celebrity fixation, self-surveillance, & parasociality while reanimating the early internet’s sense of play, intimacy, & possibility.
Highlight:
—> desktop folder “Been Afflicted”
a personal essay, slideshow hybrid on the ten-year anniversary of the 2016 “Sad Ben Affleck” meme. By paralleling his public unraveling, hardships in dating, & overzealous back tattoo to my own obviously equivalent & proportionate misfortune, the piece becomes a confessional investigation of the “crushable failure” a revisiontse use of the “muse” and an attempt to reclaim meme as inventive form & virality as collective voice.
PISS OR BEER?, 2024-present
“Piss or Beer” is a live slideshow-gameshow poetry desktop performancewhere where audience members are asked to identify whether extremely zoomed-in pixelated images of piss or beer are in fact either…piss or beer. Browser events (youtube videos, forums, indexes, maps, mini-games, etc) along with poetic/literary counterparts, are activated by the audience’s guesses and the introduction of disruptive images (that are neither piss or beer) into the game’s framework. The game takes formal inspiration from satirical Flash games of the mid 2000’s, optical illusion based memes (hotdog or legs) and was based on a real experience I had while sharing the roaside with a clear plastic water bottle, about halfway full of liquid gold…
GOD OFF THE GROUND
alternitive found archive for religious vandilism and ephemerae, Toronto, “useless website”
CRISS ANGEL THINK PIECE
invented meme
ALBUM ARTWORK FOR DUMB CRUSH
analog collage, vintage magazines [all images are from Toronto 1932-2004]
Can’t Say It Wasn’t Fun
2026
SINGLE ARTWORK FOR DUMB CRUSH
analog collages, vintage magazines, found baggy
Had It Heaven’s Got A Dog Losing My Best Friend Fishin’
2026
“SANDRA LIKE A CUSS”
Glyphöria (Metatron Press)
Issue 5: Translating Language and Sound
Live Code Poem <Hydra>
“Using live coding and the software Hydra, Melly Davidson translated her poem, “Sandra, like a cuss” into a visual and sonic experience. She types the poem out line by line, the sounds of clicking in the background, often overwhelmed by music, by waves, by people talking and eating, by found audio off her phone from Jamaica. Davidson manages to bring us to the island, guides us along her poetic journey, with colour and text, with live recorded music, with the sound of her mother’s voice.” - Eli Tareq El Bechelany-Lynch, Curator
6 CLICKS TO JESUS / IN THE HOLE GROUP SHOW
Silverfish Vol.3: Hole, Trinity Square Video
hyperlink poetry, live desktop video work, found collage
“Hole” as internet rabbit hole
Taking inspiration from the wikiracing game 5-Clicks-to-Jesus, where the objective is to arrive at the Jesus Christ entry page from a random article in as few clicks as possible. The wikipedia pathway or “6 clicks” [1. Pool (cue sports) 2. Eight Ball 3. Coin Flip 4. Emperor 5. Charlemagne 6. Jesus] were inspired from a “dirtbag summer” where I was fixated on the gender performance of “dive bar”, acts of chaotic devotion, & digital puberties. While was wrestling with just how non ironic my ironic faith was becoming.
The wiki-suite poems of the digital publication include hyperlinks throughout each text, adding intertextual web materials and personal/cultural references through internet relics, memes, trends, viralities, and personal hyperfixations. The core Web 01 mechanism of the hyperlinked also symbolizes the arrested development within dirtbagism. In the single take screen recorded video work, the wiki thread and respective poems are showcased & completed, all backdropped by an assortment of choreographed browser and desktop events.
In 6 Clicks to Jesus, Melly structures and titles a suite of poems around Wikipedia game in which players click hyperlinked text to arrive at the entry of God's supposed son. Informed by the intertextuality of internet rabbit holes, these poems combine reference to 90s rock and Web 1.0 with text stolen from YouTube tarot readings and bathroom stall graffiti, to sketch a portrait of a pool shark reckoning with the faith and misogyny of their past.
- Cason Sharpe, Guest Editor
Highlights:
- recreation City Pool bathroom on MS paint
- Crazy Taxi gameplay
- Mighty Bean commercial
- Youtube Tarot Readings
- Youtube Lyric Videos
- Personal archive of Toronto based religion graffiti, stickers, vandalisms
POCKET TRASH
collage series made from found religious ephemera for in the hole
DEVOTIONAL CHAOS / THE DEVOTIONAL CHAOS READING & WRITING GROUP
Collaborative with Mic Jones
Episode 001 of Devotional Chaos is a collaborative cough up altar, an ongoing queer exploration of the feral divine. (belief, spirit, irony, transmuting religious trauma, riffing, patterns, pocket trash) Poems, collage, and ephemera to yearn to, risk to, pee while on speaker phone to. We are concerned with the new “salvation” but more conerned with inventing the new word for “meme”.
CLOSE ONE!
Forthcoming, supported by ArtReach
“& my scars remind me that the past is real” - Papa Roach
“CLOSE ONE!” is a queer poetic investigation of “scar” as a counter-archive, memory map, anti-icloud. Merging interviews, poetry, collage, photography through fragmentation and disruption. CLOSE ONE! explores queer storytelling and identity in relation to the body, time, and memory.
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Scars are long term storage in a system that is unconcerned with impartial or objective truth. This is especially significant in the age of digital-induced amnesia, AI off loading, camera roll dumping, etc. Scars are formed from actions of removal, obstruction, and confrontation—the body reimagining & reforming self. This is inherent to queer & trans becoming. Scars exist as fleeting time portals into the emotional body, physical sites of connection to a past self. Using ideas of corporeal cartography & invented forms of self-documentation CLOSE ONE! challenges the significance of forced linerarty & fixed narrative in the expression & celebration of self.
Queer bodies are often reduced to narratives of resilience, perseverance, or survival. “CLOSE ONE!” Is not interested in the evidence of suffering but rather the possibility that scars offer to access memory & feeling, to reflect the transformative nature of queerness, to if not resist, at least question digital commodification of the body & the ways lived-experience is being sold as “data”.