{"id":{"repo_id":"texas","oai_identifier":"oai:repositories.lib.utexas.edu:2152/134445"},"canonical_url":"https://search.dev.ndltd.org/etd/texas/oai:repositories.lib.utexas.edu:2152/134445","repository":{"repo_id":"texas","name":"University of Texas","base_url":"https://repositories.lib.utexas.edu/server/oai/request"},"display":{"title":"Becoming the flaming creature","abstract":"Becoming the Flaming Creature is a transdisciplinary thesis exploring sculpture, scent, performance, and poetry through the lens of queer embodiment, material experimentation, and transformation. Drawing on the legacy of Jack Smith’s Flaming Creatures (1963) and the metaphor of the scavenger, the project considers queerness as both method and matter—fluid, provisional, and process-based. Across this body of work, materials such as latex, beeswax, paper pulp, clay, scent are mobilized not for permanence, but for their capacity to leak, rupture, and reform by mirroring cycles of care and the internal mechanics of the body. The accompanying sample of the poem chapbook, Dog Custody, extends these gestures through a language that bruises and breathes—treating text as flesh, metabolizing desire, grief, and power. Across media, the work offers an aesthetic of the unfinished: a queer alchemy where nothing is stable, and everything becomes.","abstract_html":"Becoming the Flaming Creature is a transdisciplinary thesis exploring sculpture, scent, performance, and poetry through the lens of queer embodiment, material experimentation, and transformation. Drawing on the legacy of Jack Smith’s Flaming Creatures (1963) and the metaphor of the scavenger, the project considers queerness as both method and matter—fluid, provisional, and process-based. Across this body of work, materials such as latex, beeswax, paper pulp, clay, scent are mobilized not for permanence, but for their capacity to leak, rupture, and reform by mirroring cycles of care and the internal mechanics of the body. The accompanying sample of the poem chapbook, Dog Custody, extends these gestures through a language that bruises and breathes—treating text as flesh, metabolizing desire, grief, and power. 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