What makes a man.    Performance. 2014   How do we determine someone's gender? Is what we assume we see the same as what we actually see? Complicating our perceptions and preconceived ideas about manhood,  What Makes a Man,  asserts the visible/invisible transgender body as merely a surface for the projection of our own subjectivity.
       
     
  Meditation on a name    Performance/Installation. 2014   Oliver James: "to replace with peace."  Each week I give myself an injection, each week I replace the estrogen and progesterone in my body with testosterone, and each week I become more of my truest self. These are the things I meditate on as I uncap each needle, repeat my name and the week of my life it represented, before replacing it on the table.
       
     
  In the eyes of my mother I    Performance. 2014   Each person's transition is unique and multifaceted. A necessary part of my transition through genders included a name change. Legally Oliver James since August 2012, I spent the 20 years prior with the name that was given to me by my mother. In the most pure way I desire to be seen by my mother as my own person, to connect with her in the most authentic expression of myself, as her son. Holding hands and eye contact, we repeat the name I chose for myself to each other. A gesture building trust, intimacy, authenticity, all supported by the healing quality of the mother's gaze.
       
     
  In my mother's eyes II    Installation view. 2014   Relationships ebb and flow, they are filled with pain, joy, support, change, and exploration. Our relationships with our parents undeniably affect us for the rest of our lives, for the better or worse. In my mother's eyes II is about seeing and being seen, a candid 3 hour conversation with my mother, edited down to 20 minutes reflects her understanding, processing, and growth of our relationship throughout my gender transition. This candid video is then projected onto the back of an authentic picture canvas of my mother holding me as a baby. The viewers are free to move around the object floating in space, immersed by the audio of the recording.
       
     
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  A living landscape   Site-specific earthwork. 40' x 20' x 1.5'    2013    A Living Landscape  was a site-specific sculpture located on the vacant land once occupied by the Alachua General Hospital in Gainesville, Florida.  A Living Landscape  is presented as a series of three photographs that serve as documentation of this large-scale earthwork. This work directly addresses the history of a particular piece of land as a living body as well as the history of the bodies that have and will inhabit it. The project defines the identity of land as a living being, capable of both memory and growth.
       
     
  A wonderful life    film still. experimental 16mm film. 2013   This film lies at the intersection of love and power dynamics in relationships. Through a deliberate (mis)appropriation of "love scenes" from "It's a Wonderful Life" by Frank Capra (1946) juxtaposed with a visual deconstruction of a man flexing, the film seeks to challenge the viewer's relationship to traditional notions or romance, masculinity, and their connection to domestic violence.
       
     
  (un)veiling  2013  contrapposto   inkjet print, 21" x 37"    A subtle exploration of visibility, the veil, and the gaze, (un)veiling explores what it means to be veiled by your own skin. The veil object, created by peeling off hardening liquid from the body of the model and then stitched together, still retains hair and organic material from the body. Obscuring the body and the gaze of the model, and in turn, the gaze of the viewer, the veil/skin/film/trash creates a distressing barrier in the visual field. Referencing traditional beautiful sculptural poses, the poetic imagery is an indirect reference to the visibility politics of the transgender body as object.