This essay hopes to provide readers a theoretical analysis of the queer abstraction of Caroline Wells Chandler (b.1985), a contemporary New York painter. The methodology of the essay will operate from a queer feminist vantage point orienting Chandler’s work within the futurity of the late José Esteban Munõz (1967-2013) in Cruising Utopia, the then and there of Queer Utopia. The essay will also explore formalities of ‘queer abstraction’ as coined by Judith Jack Halberstam (b.1961), consulted invaluably.¹ ‘Queer abstraction’ herein is further part and parcel per Pink Labor on Golden Streets, an edited volumeproduced by Dietmar Schwärzler, Hans Scheirl (b.1956), Ruby Sircar (b.1975), and Christiane Erharter (b.1974), in documentation of their 2012 symposium Dildo Anus Power: Queer Abstraction. Equally important to the discussion of queer abstraction is Renate Lorenz’s Queer Art, A Freak Theory.², ³ The edited volume Otherwise, Imagining Queer Feminist Art Histories edited by Amelia Jones (b.1961) and Erin Silver has been equally helpful.Finally queer and feminist theorists such as Audre Lorde (1934-1992), Judith Butler (b.1956), Donna Haraway (b.1944), Whitney Davis (b.1958), and Eve Kosofsky Sedgwick (1950-2009) buttress this investigation.

The discussion presented will be constituted of three parts. It will begin orienting the body. This in turn will give way to a discussion of queer time and communities oriented about Chandler’s work inside of past, present and future contexts. The third section will discuss futurity as it relates to Muñoz’s contention for horizonal Utopia.

The essay will make additional use of existing interviews and articles of the past several years as well as a recent conversation between the artist and the author. Moving forward the author intends to employ a healthy self-consciousness, as identified by Amelia Jones, of themselves as a cis-gender presenting, fluid feeling, queer, white male. ⁴This essay will focus on Chandler’s crocheted work up and to this moment in time (late 2016); mostly this refers to Chandler’s last four solo exhibitions.

Bodies and Binaries

In a conversation between Vaginal Davis (b.1969), Kaucyila Brooke (b.1952), and Daniel Hendrickson in P.L.O.G.S., Brooke speaks about the importance of abstraction and a queer aesthetics of play, elaborating that their effect lies in their ability to deliver an uncanny quality of image, and further, that if “…gender and feminine are only associated with a certain kind of body, it becomes very difficult to see the other alliances that are drawn.” ⁵ Chandler’s work evokes an uncanny quality through abstraction and play, and also Frankenstein’s gender binaries by denying the viewer any clear representation of genitals. Lines of race are also frequently crossed, and Chandler adopts signifiers of difference quite like a boy scout pursues merit badges. In Chandler’s world of queer characters, everyone would seem to be a boi, that is, genderqueer.⁶ Chandler uses the term somewhat loosely to signify “…queer, gender nonconforming, and transgender FTM bodies.”⁷ The genderqueerness of Chandler’s work effectively resists the heteronormative gaze that is anatomically voyeuristic as well as relatable to scopophilia, as discussed by Amelia Jones in her edited volume Otherwise: Imagining Queer Feminist Art Historiesin the chapter On the Site of Her Own Exclusion: Strategizing Queer Feminist Art History, wherein queer film is discussed.⁸,⁹ Inasmuch as Chandler’s work does not cinematically parse or redirect gaze, it does deny it, while also offering entry into an intoxicatingly joyful world of queer nomativity, as he says, positing queerness as the most normative state.¹⁰ The gaze is also represented in the work by the Bridge Trolls, whose eyes also reflect the genital arena of Chandler’s work.

Chandler opts, in his work, for a feminism that is really beyond feminism, insofar as feminism might be thought of to represent women exclusively, it is a feminism that doesn’t “…value or respect denominator cultural values…” but instead “…the life affirming positive choice…”¹¹ Chandler’s attitude of feminism is more characterized by the affirmative inclusivity of its insides than the exclusivity of its outsides. Importantly, lived experience and unconditional affirmation would seem the central tenant of Chandler’s thesis.

Chandler’s work keeps gendering gazes at bay in a way that is similar to what Renate Lorenz’ defines as ‘abstract drag’ of which she says: “Abstract drag can thus be characterized as the paradox of a presence of human bodies and their activities in absence.” ¹² Chandler also, through these devices of coterminous presence and absence, avoids essentialism, despite embodiment, which is discussed in the aforementioned Otherwise, in the chapter Our Maiden Aunt: Lesbianism or the Limits of Queer, as a limiting factor that can circumscribe an essentialism of race, bodied type, sexual preference, or any number of “qualifier distinctions,” as may be held within diversity. ¹³,¹⁴ Chandler’s characters evade engenderment through a complete ambiguity of sex parts in several different ways.

For instance, in his Self Portrait as Bob Ross (Fig.1) the figure is cropped diagonally from shoulder to hip, and this diagonal cropping is used also in Chandler’s swimmers Freestyln (Dark Red)(Fig. 2).

This halving of the figure eliminates the germinal ground of inquiry. It is a denial of both the heteronormative gaze as well as what David J. Getsy and William J. Simmons discuss in P.L.O.G.S. as “..the production of evidence…” in testimonies of othered identities relative to queernesswhich tend to “…reinforce a hierarchical relationship between normalcy and difference…” only strengthening the taxonomies of difference as borders between marginal persons. ¹⁵ It is therein that these markers of difference become subtle actors of division and servants of the white, heteronormative, patriarchal hegemony. In my interview with the artist, Chandler explained the work and its key visual devices this way: “I’m open. I’m not sure if the work seeks inclusion or integration that way, I think of it more as an alternative option but not separatist. I think of the scars and the cracks which can be read as penis, vagina, or butt cleavage as portals to endless possibilities of self-discovery.”¹⁶,¹⁷ These portals are perhaps most inviting in Chandler’s Orgins (Fig. 3)(informed by Gustave Courbet’s Origin of the World cross-culturally combined with a Tantric Dharma Protectors) where four figures are spread eagle with rainbow chasms pointed directly at the viewer, arms and legs aloft in joy.¹⁸

The chasm is an invitation to definition, a loosely bordered doorway, and a resistance of markedness and taxonomy, as discussed by Audre Lorde in Sister Outsider.¹⁹ These marks also refer to top surgery in his work, which at first (to me) seemed possibly contrary to a denial of classification within the identifying systems circumscribed by normativity. Investigating further, however, scars of trauma in the pursuit of one’s desired body could potentially be navigated to no end, and as these bodies are boi and not categorically human in any manner Vetruvian (who is?), it seems oppositional to the work’s thinking.²⁰ Chandler is excited by the multiplicity of interpretation. “I kind of like to think of my figures in a similar way as big queer jolly guardians that keep the edges free and flexy.”²¹ And paraphrasing again from David Getsy in P.L.O.G.S., some artists seem to find abstraction’s possibilities of visual obstruction sexy in a new way. Some of these abstract avenues can seem prone to utopian folly and apolitical too, but then also there is abstract space for critical relationality and self-worlding.²²,²³ It’s hard to be certain whether or not Getsy intends to frame constructs of the utopian or apolitical as being totally negative as it could be held that there are instances that nimbly handle their employ, utopianism surely serves a purpose here though. Importantly, this will be carried forth. It is suggested that what Getsy heeds is the sort of Utopian thinking that is supposed to be linear in time.

Chandler’s work effectively displaces genitals from the conversation, to borrow a term from Nanna Heidenreich in P.L.O.G.S. who goes further to say that artificiality underwrites human production as a whole, but borrows from Buddhism that “radical illusion” and its construction methods of personal truths regarding reality as it is made in the mind.²⁴ Chandler’s work is in many ways illusory, or perhaps just contrary to conventional modes of understanding; the coupling therein allows for transcendence and belonging.

One of the signifiers that re-emerges in almost all of Chandler’s interviews is the root word of Queer which is twerkw which means to turn or twist, and Chandler enthusiastically explains it often, because it works so well.²⁵ This root is very literally referenced in the process of crochet which is literally the twisting and crossing of lines.²⁶ The microcosmic elements of Caroline’s work are in this way oriented around erotica, however in a way that defies its definition in visual reading, which is radical from both feminist and queer vantage. ²⁷ Further, the flexible nature of the work, per Halberstam, is evocative of a “utopian sense of pliability” and Chandler’s prolific employ of bombastic color is, according to David Butcher (b.1948) avowing of the unknown, resistant to what Butcher categorizes as a white male trope he quantifies with his term “Chromophobia.”²⁸,²⁹ Chandler’s work is concernedwith color, and in this way forward thinking. “I’m into Gnostic ideas regarding the body. They (Greeks) believed that our bodies were vessels of light. My figures have the full spectrum of ROYGBIV radiating out of their buttcracks.”³⁰

That these characters of Caroline’s can radiate light from their buttcracks speaks to their other worldly-ness and tremendous sexual freedom, and is perhaps a good point of introduction to Donna J. Haraway’s A Cyborg Manifesto: Science, Technology, and Socialist-feminism in the Late Twentieth Century. The text is largely Marxist politically speaking, which is not central to the purposes of this essay, but is also very future oriented, which certainly is being contended for with Chandler’s work. Much in the way that cyborgs are hybrid human and machine, Chandler’s characters often alchemically collide cultural matter, for instance The Village People (Fig. 3) and Dharma Protectors.³¹ Chandler’s characters, much like cyborgs, are hybrids, fictional in a manner that refigures the world, and offer a prose of possibility, restructuring consciousness and queerness. ³² Through a process of queering and reorienting cultural norms Chandler is enacting the “chimera” of Haraway’s cyborg, taking “…pleasure in the confusion of boundaries and for responsibility in their construction.” ³³

This can be seen in Chandler’s Mr. Fisty (FIG. 4) which collides Americana archetypes, queer sex practice, geography, camp, race and also hair color, frequently red, as that of greatest difference, or the most recessive gene. ³⁴ Further Haraway speaks of the cyborg as “…an effort to….in the utopian tradition of imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end.”³⁵ Eliding the specifically socialist-feminist aspect of Haraway’s method, Chandler’s characters seem to negotiate space in a very similar manner; how they negotiate labor wouldn’t seem readily available. However, on a relative note to that end, in an interview with Iva Kinnaird Chandler discusses Mike Kelley’s (1954-2012) crocheted work as only ever possible because of the work already done by feminism, and that this seems to have been smudged out of his work. While it is not held herein that Chandler’s work is as concretely or radically imaginative as Haraway’s cyborgs contend, there are many similarities. The characters in Caroline’s queer communities are located in a world that is effectively post-gender and all-queer, interestingly, Chandler’s work would also seem unalienated in its labor, and also transcendent.³⁶

The bodies, altered by surgery, that he suggests echo the cyborg where people are “not afraid of permanently partial identities and contradictory orientations of self. The political struggle is to see from both denominations gleaning possible understanding from the opposite vantage.”³⁷ This sentiment in turn reflects the interview conducted for this essay where Chandler ponders gender:

Maybe the culture needs to adopt the idea that women are men that were told they were women and men are women that were told they were men. Aside from sex and gender there is the permeable membrane of embodiment which I refer to as ‘the third layer’ and that is where things get really interesting.³⁸

This suggests an intermediary. Finally, in describing the cyborg Haraway suggests that feminists must generate a parsed and put back together “postmodern collective” subjectivity, that is also personal. ³⁹ Does this not resonate Chandler’s third layer? Finally, and eerily, in the manifesto’s last passage Haraway writes of a “common language” which relates to Chandler’s earlier works serving as a sort of alphabet, and concludes the manifesto writing: “Though both are bound in the spiral dance I would rather be a cyborg than goddess.” This last passage would seem to indicate the process of crochet (twerkw) in “the spiral dance.” ⁴⁰,⁴¹

In summation of this section of bodies it seems pertinent to link Chandler’s bodies to Halberstam’s fluxing “gaga genders,” that exist outside the binary in the margins and spaces abandoned by normativity having “…multiplied like computer viruses in late capitalist cultures.”⁴² Also relevant is Foucault’s Utopian Body, discussed by Barabara Paul in P.L.O.G.S.:

“Utopia is a place outside all places, but it is a place where I will have a body without body…Untethered, invisible, protected—always transfigured….{Utopia is}The land of fairies, land of gnomes, of genies, magicians…It is the land where you’re visible when you want, invisible when you desire.”⁴³

Strangely, cosmically perhaps, this language seems to suggest Caroline’s work, which often cites “…mythology, animism, alchemy, Lambic beer, symbolism, tarot card, metaphysics, psychedelia, and shamanism, specifically the traditions of the Shipibo Indians, Siberian genderqueer shamanism, and the Winnebago concept of the trickster for clarity.”⁴⁴

Lastly, Jackson Davidow (b.1990) in his essay Beyond the Binary: The Gender Neutral in JJ Levine’s Queer Portraits, speaks about the formal operation of gender that’s held in Levine’s portraits. They speak gender identity, without speaking about it, through a neutral silence that speaks simply, effectively “…spurning the game of interpretation that perpetuates the policing of sexist binary notions of gender.”⁴⁵ Chandler’s works operate in a similar fashion, perhaps though without silence as they queer the binary through what Chandler refers to as the “third layer.” ⁴⁶

Moving forward the body extends into community inhabited by embodiments of heroes and friends of the future and the past, Chandler seems to occupy a space of consciously playful perversity that enacts queer time, and this is where the conversation of temporality and horizonal imagination will depart.

 

Time and Horizons

Time, in capitalist society, moves in a line from a beginning toward an end. Halberstam explains a temporality that is oriented along lines of profit and accumulation, that time can be owned and valued as capital in and of itself, and that there is decorum associated with the time and geographies of business. Halberstam suggests we are conditioned in our responses to time, frustrated by traffic jams, happy to meet a deadline on time, and fashionably late to parties. In these self-associations of temporality, time seems normal, framed in capitalism.⁴⁷ Halberstam’s In a Queer Time and Place has been a valuable resource in understanding queer time as it relates both to functions of community and worlding. Halberstam’s theorization of queer time importantly realizes the heteronormative structures of “family-time.” ⁴⁸ In opposition Halberstam refers to subcultural subjects who are found working when others sleep in abandoned spaces, or in spaces that might be domestic for many others; the living room becomes a studio, the kitchen becomes half woodshop.⁴⁹ Additionally, people who live non-normatively face risks and financial realities “outside the organizations of time and space that have been established for the purposes of protecting the rich from everyone else.”⁵⁰ Halberstam’s discussion of temporality defines oppositional cultures as being temporally incongruous, that the sexual flow of time and space speak to the quality of hegemony, and finally that queerness challenges the structures as currently exist.⁵¹

Caroline’s work does this by queering archetypal cultural narratives like Santa Claus, Trolls, The Wizard of Oz, not to mention subjects of art history (FIG. 5). In Big Red (The Bather) a Paul Cézanne (1839-1906) painting receives a treatment that completely reorients its demeanor. As opposed to a highly self-conscious white male figure, we are confronted with a joy-forward, bemused boi, ambling with lanky limbs, dark skin, and ginger hair. Big Red is greeting the viewer with Chandler’s ever present top-scars and an ambiguous line drawn overtop categories of the yonic and the phallic and then also along the butt crack. ⁵² Through a queering of art history archetypes Caroline draws lines of queerness with a language not previously presented there in that place in time. In this way he extends community into the past, into reifying understanding and exploratory realms of comparative analysis.

In a similar fashion Chandler draws lines to affirm contemporary community, in works like All Start BasketballTeam (Fig. 6), Molly Wearing Katherine Bradford’s Magic Glasses (Fig.7) and The Angela Dufresne Workout Plan (Fig. 8)Chandler blatantly articulates his heroes and their profound effect on his work, and in this way enacts a queer futurity of Feminist art histories in the contemporary moment.

Katherine Bradford (b.1942) is one of Caroline’s greatest heroines. Angela Dufresne (b.1969) is Caroline’s official Queer Art Mentor through the Queer Art Mentorship Program. ⁵³ Chandler’s inner dialogue is also wrought of community. Dreams are frequently cited as sources of inspiration wherein, in one particular instance, the Insane Clown Posse became advocates and protectors against khaki-clad Christians. ⁵⁴ Chandler thinks of artists as being in communication with personal interstellar demons. This aspect of the subconscious enters Chandler’s work through the ‘Neo-Sublime’ where the presently rooted conscious mind, the making mind, gives gifts to the future self.⁵⁵ In the same way that Chandler’s characters are ungrounded in the creative mind from which they spring, so are they in origin. The Orgins, Trolls, Cowbois, and other chimerical characters share the skin of crochet and show no trace of ‘original unity’, and in many ways are again relatable to Haraway’s cyborgs in that they are “… committed to partiality, irony, intimacy, and perversity. Are oppositional, utopian, and completely without innocence. No longer structured by the polarity of public and private.” ⁵⁶ In their irreverence, playfulness, joyfulness and stubborn refusals Chandler’s works reflect a resonant quality of queer temporalities which is often referred to as an extension of adolescence.⁵⁷,⁵⁸, ⁵⁹

Finally, Renate Lorenz in Queer Art: A Freak Theory discusses the issues of belonging and insecurity as relative to community building and thereby desirous of otherness. ⁶⁰ Halberstam similarly discusses ‘quests for community’ as being emanated of nostalgic fantasies of previous, or even original, unity. ⁶¹ Both explanations read like warnings, and Halberstam’s is perhaps characterized that it references a returning, which sounds at least slightly oedipal. In either instance, it wouldn’t seem that Chandler’s work falls prey. In so far as is easy to tell, Chandler has drawn lines around him in generation of and in queer-space-time community. As an action this is affirmative of the past and present moment but also very future moving in its hope and gratitude.

Futurity and Light

­­­­­­­­­ In Queer Beauty, Sexuality and Aesthetics from Winckelmann to Freud and Beyond, author Whitney Davis argues for the idea that ultimately all of our contemporary culture’s notions of beauty are camped in classical pederasty and the aesthetics of beauty therein.⁶² In this way queerness suddenly seems infinite, like it was there all the time and that suddenly its visibility emanates new and unrecorded shine. It’s recorded history, as many of these texts show, is a project of the future.

In Cruising Utopia, The Then and There of Queer Futurity, Muñoz iterates a discussion that opts for a queerness that is “coterminously plural” through its “singularity” which generates its semblance of cultural subjectivity in relation to other modes of subjective existence. ⁶³ Chandler’s Orgins (Fig. 3) and other characters such (Fig.7) Molly Wearing Katherine Bradford’s Magic Glasses achieve such a duality through a simultaneity of exploratory invitation, and also scopohilic refusal. Interestingly Muñoz refuses the antirelational, as “…romances of the negative…” and “…investments in deferring various dreams of difference.”⁶⁴

At first Chandler’s color chasms that connote a general genital could seem antirelational in this way, however the question they deliver, although perhaps not immediately available, is one of access that crosses lines of gender and identification. Furthermore, works such as Bridge Troll (Fig. 9) enact this gaze of the scopophilic establishing a directly relational connecting point between gaze and object. Muñoz posits, in a manner similar to the inviting chasms of the Orgins, a Queerness that is not here yet, not yet imagined. ⁶⁵

He writes: “These future generations are…not an identitarian formulation but, instead, the invocation of a future collectivity, a queerness that registers as the illumination of a horizon of existence.”⁶⁶ Muñoz’ description of the horizonal is that of a queerness which can evade straight time and its “self-naturalizing,” becoming more considerate of subjectivity as infinity.⁶⁷ With regard to heterosexual futurities of child rearing Muñoz argues that queers have already been enacting worlds outside of heteronormativity. He further contends that queer futurity cohabitates the future and the present “…insisting on the minoritarian subject’s status as world-historical entity.” ⁶⁸ Chandler’s work in queering subjects of art history works much to this same end. Further, Muñoz discusses the present as generative and inclusive of the future, that along with other binaries, so must this to be dissolved. ⁶⁹ This separation is like a series of Matryoshka Dolls that open infinitely­­­­ exposing further instances of opening. Muñoz further describes Utopia as being anything but prescriptive, it is un-rendered, modular, mutating, and flickering. It is productive to think about utopia as flux, a temporal disorganization, as a moment when the here and the now is transcended by a then and a there that could be and indeed should be.”⁷⁰ This is exactly how Chandler’s work manifests queerness, as an infinitely affirmational space of possibility within the complete absence of gender wherein queerness becomes the normative. These spaces that Chandler enacts do actually exist in the space of the gallery where they can be directly experienced. These spaces also describe a future-bound Utopia that is as Muñoz describes, “not-yet-conscious.”

Summation

In summation it seems appropriate to discuss Icaro (Fig. 10). According to Chandler Icaro is misspelled to reflect Carl Jung’s (1875-1961) structure for the self in the process of individualization. The correct spelling of the name ends in “us” which implies a perilous integration of the self. An icaro is futher a song learned from plant spirits and sung by Shipibo Indians in ayahuasca ceremonies. Through tonality the shaman creates a synthetic visual landscape of color for the traveler. The etymology of icaro is the Quechua word ikaray which means to blow smoke to heal.⁷¹In all of these ways we see the modus operandi of Chandler’s work becomes visible. The twelve foot tall Icaro is combinative as a centaur, and yet signified as singular in his identity by misspelling of his name. This duality implies the coterminous nature of relational queerness, that subjectivity is originated of many parts. By implying the ayahuasca ceremony Chandler suggests that life’s journey is uncannily strange and also must be visionary. The implication of the word ikaray speaks to the healing discovered in affirmative space of community. The fact that Icaro has something of a penis but then also top scars suggests freedom of play, and freedom of choice, and chimerical infinity. His happy disposition suggests the hopeful future, and his rainbow cape lends importance and a dose of campy confidence.

–Jack Wood

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