Epilogue
Spacetime co-ordinate: Reykjavik, September 2025
“The moral is simple: only partial perspective promises objective vision. […]
Feminist objectivity is about limited location and situated knowledge,
not about transcendence and splitting of subject and object.
It allows us to become answerable for what we learn how to see. […]
The only way to find a larger vision is to be somewhere in particular.” (Donna Haraway, 1988:583 & 590)
You have seen a photographic research project
that moves within the queer borderlands between drag and wrestling –
two modes of performance art that,
through eccentric personas, embodied gestures, and DIY culture,
destabilise notions of sex, gender, and sexuality.
I have approached these practices as arenas of performativity,
where the hypermasculine and the hyperfeminine
are not positioned in opposition,
but meet in mutual tension
and unstable, embodied renegotiation.
You’ve seen photography,
in reciprocal movement with autoethnographic, essayistic writing.
The presentation is part of a diffractive gesture,
where photographs neither illustrate nor represent,
but emerge as entangled with memory, theory, and philosophy
as components of a manifold research apparatus.
This weaving together is less about reflection than diffraction —
as waves meeting and producing new patterns.
An unstable entanglement unfolds,
where identity and bodies are materialised and unsettled
through contingent, partial, and situated enactments.
My research gesture lies in the range and friction
between empirical productions and theoretical entanglements.
I propose — and also produce —
ways of reading, understanding, sensing these photographs.
But I will not, I cannot, supply finite answers.
What emerges is a site
where performativity, memory, and bodily becomings meet.
This is uncertainty and instability —
and it is within this instability
that knowing itself takes shape.