Maximus" is a provocative multimedia art installation that challenges viewers to engage with the uncertainty of the digital age. This interactive piece presents Maximus' button, its purpose shrouded in mystery, inviting participants to confront the enigma of action versus inaction. The work mirrors the pioneering journey into the burgeoning frontier of artificial intelligence, paralleling the unpredictable outcomes that each technological advancement may present. Just as humanity stands at the precipice of the digital unknown, "Maximus" dares its audience to take an active role in the unfolding narrative of progress. The button, a metaphor for the myriad choices we face in the integration of AI into daily life, asks us to consider the weight of our decisions in a world where the consequences are often as enigmatic as the technology itself. "Maximus" is not just a piece of art; it is a philosophical inquiry into the essence of decision-making in the era of digital revolution.
The Pointless Sisters
The Pointless sisters are better than you. They spend more time online than you, they troll you, you love it, you can't get enough. You realise you're pointless too.
The character of Kellyanne the Con-artist is a symbolic representation of the monstrous actions by Trump against the LGBTQ+ community. On January 20, 2017 Less than two hours after Trump and his virulently anti-LGBTQ+ activist Vice President Mike Pence were sworn into office, all mentions of LGBTQ+ issues were removed from the official White House webpage. in the following years:
Dress me down
Crafted from the remnants of an old marquee, this dress carries with it the echoes of performances past, repurposed to tell a new story. Hand-painted by the esteemed Alan Tibaldeo, its bold colors and sweeping strokes capture the essence of urgency and motion, embodying the experiences of LGBTQ individuals who navigate the relentless pursuit of acceptance and understanding. The choice of material is deliberate, a nod to the public spectacle of identity and the relentless spotlight often cast upon these lives. Worn by the enigmatic performer known simply as Lady Paraiso, the dress becomes a living performance, a moving tribute to those who feel the perpetual chase of societal expectations. As Lady Paraiso steps into the spotlight, the marquee dress is not just an attire but a statement - a call for the world to witness the chase, to acknowledge it, and to join in the stride towards a future where no one feels the need to run.
Dress Created by Karl Allen
Painted By Alan Tibaldeo
Performer Lady Paraiso
I See You!
Dress Created by Karl Allen
Performer Queef Latina
The Reflective Embrace" is a sartorial masterpiece designed to make a bold statement about visibility and acknowledgment in the LGBTQ community. Constructed from innovative reflective materials, this dress is a beacon of light in the literal and metaphorical darkness that often surrounds marginalized identities.
Its shimmering surface serves as a mirror to society, challenging onlookers to see the wearer — and by extension, the LGBTQ community — as an undeniable and vibrant part of the human tapestry. The interplay of light upon the dress symbolizes the many facets of LGBTQ lives, reflecting back the gaze of the world and demanding to be seen, recognized, and celebrated.
With every movement, the dress becomes a dynamic canvas, alive with the stories and spirits of those who have felt unseen, a powerful testament to the resilience and diversity of the LGBTQ community.
Sunshine Recycling Farm
Not Performed by Karl Allen, Tawnie , Opal Am Rah and Tobias.
The Sunshine Recycling Farm" was an avant-garde band that juxtaposed pastoral innocence with sharp social commentary. Cloaked in farm animal costumes, the four members never graced a stage, yet their message resonated far beyond the reaches of traditional performance. Their name itself was a statement—'Sunshine' evoking the idyllic, natural life often associated with farms, and 'Recycling' hinting at the cyclical, sometimes exploitative nature of agricultural and fame-seeking practices. They stood as a silent testament to the plight of farm animals and a satirical jab at the endless churn of celebrity culture where fame is often recycled and repackaged. The group’s very existence questioned the consumption of music and media, asking whether fame was a necessary component of artistry or if the message could stand alone, unadorned by the lights and clamor of performance. Through non-performance, "The Sunshine Recycling Farm" delivered a powerful narrative on the overlooked and the over-glamorized.