Dearest Readers-
What a busy issue cycle it has been over here at Camp Gertrude, my friends! We had two guest editors, Nadine Marshall (poetry) and Ir'ene Lara Silva (fiction) while our poetry editor finished her manuscript and our fiction editor began work on some exciting new Gertrude projects - to be kept in the loop on all that, please sign up for our newsletter here or check back in! - and we brought on a new Events Guru, Callan Foster, who will supporting the hinted-at new projects :)
On a personal note, as you might be able to tell from the header image, I've moved back to Portland with kids and 90-pound pooch in tow. Not the easiest thing during a pandemic, but we had LOTS of room on the plane! We have since gotten phone and cars and now, possibly, a house. WHEW!
Amid all that we give you ISSUE 35, with stunning cover art by emerging artist Zoe Walsh (read their artist statement below) alongside a wide range of voices reflecting the spectrum of wonder that is the queer writing world. Don't miss also the link to Stephen O'Donnell's blog on Marie Høeg: "Norwegian photographer and suffragist. Her published work was traditional in nature, while her private photography challenged the gender roles of the time and, since its rediscovery, has garnered international attention..."
The images are delicious.
Now, I am off to do a sewer scope. Say what you will about that.
Enjoy this issue and please follow us on social media - click the footer icons - to stay looped!
x-tammy
What a busy issue cycle it has been over here at Camp Gertrude, my friends! We had two guest editors, Nadine Marshall (poetry) and Ir'ene Lara Silva (fiction) while our poetry editor finished her manuscript and our fiction editor began work on some exciting new Gertrude projects - to be kept in the loop on all that, please sign up for our newsletter here or check back in! - and we brought on a new Events Guru, Callan Foster, who will supporting the hinted-at new projects :)
On a personal note, as you might be able to tell from the header image, I've moved back to Portland with kids and 90-pound pooch in tow. Not the easiest thing during a pandemic, but we had LOTS of room on the plane! We have since gotten phone and cars and now, possibly, a house. WHEW!
Amid all that we give you ISSUE 35, with stunning cover art by emerging artist Zoe Walsh (read their artist statement below) alongside a wide range of voices reflecting the spectrum of wonder that is the queer writing world. Don't miss also the link to Stephen O'Donnell's blog on Marie Høeg: "Norwegian photographer and suffragist. Her published work was traditional in nature, while her private photography challenged the gender roles of the time and, since its rediscovery, has garnered international attention..."
The images are delicious.
Now, I am off to do a sewer scope. Say what you will about that.
Enjoy this issue and please follow us on social media - click the footer icons - to stay looped!
x-tammy
ZOE WALSH ARTIST STATEMENT
Engaging with issues of spectatorship, desire, and visual pleasure, my work forges an aesthetic of trans subjectivity that complicates inherited notions of authenticity and proposes a porous boundary between imagination and embodiment. This position is informed by the experience of looking from a distance, seeing through screens. My process reflects this layered vision by working between painting, photography, film, and digital programs. Recent work, which quotes late 1970s gay male pornographic photographs produced by Falcon Studios as well as motifs of Southern California architectural modernism, explores the swimming pool as a site where boundaries between public and private become unfixed, carrying the potential for pleasure alongside heightened surveillance. Digital montages are silk-screened onto canvas, the surfaces built up with glazes of thick translucent gels of paint mixed to different saturation levels. Paint asserts its physical presence: absorbing into the ground in some areas, and built up thick with edges interlocking in others. These procedures of mediated visuality anchor my practice—the works hover between certainties, with instances of mis-registration, fragmentation and repetition disrupting legibility.
Engaging with issues of spectatorship, desire, and visual pleasure, my work forges an aesthetic of trans subjectivity that complicates inherited notions of authenticity and proposes a porous boundary between imagination and embodiment. This position is informed by the experience of looking from a distance, seeing through screens. My process reflects this layered vision by working between painting, photography, film, and digital programs. Recent work, which quotes late 1970s gay male pornographic photographs produced by Falcon Studios as well as motifs of Southern California architectural modernism, explores the swimming pool as a site where boundaries between public and private become unfixed, carrying the potential for pleasure alongside heightened surveillance. Digital montages are silk-screened onto canvas, the surfaces built up with glazes of thick translucent gels of paint mixed to different saturation levels. Paint asserts its physical presence: absorbing into the ground in some areas, and built up thick with edges interlocking in others. These procedures of mediated visuality anchor my practice—the works hover between certainties, with instances of mis-registration, fragmentation and repetition disrupting legibility.