Oh Closet examines the relationship between my queerness and my custodial labor, both of which have placed me on the margins of society, in positions often unseen or overlooked. Consisting of performance and installation elements, Oh Closet subverts the idea of cleaning through using reclaimed scraps of ceramic works in the mop water, dirtying the water. Each time the mop makes contact with the floor, more recycled clay is distributed. The clean becomes unclean, as everything in the installation becomes covered in raw clay. The closet is composed of the framing of a wall that allows the viewer to peer into it to see actions typically unseen, making the viewer into a voyeur.

This labor becomes the catalyst for the transformation of cast-off ceramic fragments that are constantly being rearranged on the gallery floor. These shards are gathered from my collection of ceramic souvenirs, often discarded and forgotten, that remind me of my personal relationships. They are smashed down and integrated into piles that are then mopped into varying iterations throughout my performance. Much like our own context-specific identities, these piles take on aspects of each other, much like we do in our shifting relationships with others.