2020 Grad Show

Skylar Eyre

AUArts Grad Show Processed with VSCO with 3 preset


I am an interdisciplinary artist working primarily in sculpture, drawing, video and performance. I consider my art queer art because my authorship as a queer male informs the position of and the making of my work. The work I produce makes personal reconciliation with my own experiences as a queer male regarding toxic masculinity as a silly, but dangerous, entity. Reconciling with the past allows my work to ask, consider and respond to what it means to be a queer male in a masculine society. This is a question I do not seek an answer for; instead, I make work to seek an understanding of my un-homed position within this system.
My intentions for the work are for its existence to be at the intersection of the self of the past and the liberated self. By referencing iconographies that are specific to my masculine experiences of the past, and my queer femme experiences of the present, the work engages the question of what it means to be a queer male within a masculine society, both subversively and resistively. Empty beer cans act as memorial for the death of the former self that exists within the masculine town in which it was brewed, where I was raised, while criticizing the ritualistic achievement of manhood. Simultaneously, iconographies such as bananas, cherries, lipstick, cigarettes and my own body make symbolic and material nods to tropes I embrace in my own femininity as a masculine-identifying queer body. How do these relationships of masculine and feminine, and myself of the past and of the present respond to one another when my own lipstick covered lips spit milk into an empty beer can, and how does this make space for myself?
My studio practice is broken down into larger laborious projects that primarily manifest as installation-based sculptures, and videos; these are supplemented by fast gestural drawings. Within the work, I reference materials specific to my own masculine and feminine experiences as a queer body while exploiting gendered materials. These materials, while specific to my own experiences and perception of my queerness, have been societally conditioned to be aligned with gender binaries, and therefore assist in my exploration of what my own identity means within the imperialist-capitalist-patriarchal model. This method of questioning/challenging my queer position enables the work to situate itself subversively in relation to gender behaviour/stigmas that my oppression has allowed me to work against. In providing undefined responses, the work allows a space of personal queer hypotheticals to exist. What happens when God is a woman and men are the subject of my gaze?This subversive and androgynous lens acts resistively to institutional systems that are threatening and oppressive via an understanding of my own identity in my body. As things move backwards, my goal is to assist the oppositional force to this push.
An old TV on the ground plays a video of me on a bed, nude, with drag makeup on; a red light above my head, and an unidentified woman brings me a sausage. I cut it up and eat it on my thigh. At times you can’t see the sausage, and when this happens as I cut it, it looks like I am jerking off. Where is the male gaze now?

Board of Governors Graduating Student Award Recipient - Painting

Small Town Boy

Stills from video titled Small Town Boy (2020).
Original video - 3 mins 26 seconds.

Spit/Swallow (Eggs Eggs Eggs!)

Spit/Swallow (Eggs Eggs Eggs!), 2019.
Acrylic, oil pastel, oil stick, charcoal on paper.
H: 26 in. W: 20 in.

Crying (Really Sad)

Crying (Really Sad), 2020.
Acrylic, oil pastel, oil stick, charcoal on paper.
H: 26 in. W: 20 in.

Genderobber (Clown)

Photo series

Untitled (Clowns)

Untitled (Clowns), 2020.
Oil stick, oil pastel and acrylic on paper.
H: 48 in. W: 40 in.

Welcum Little Daddy

Welcum Little Daddy, 2019.
Vinyl, felt, thread, safety pins, chains, inkjet print of the artist putting cigarette out on tongue.
H: 72 in. W: 48 in.

Cherries (Balls)

Cherries (Balls), 2019.
Hand blown glass cherries, Kokanee beer can, chain, rope.
H: 8 ft. W: 24 in. D: 9 in.

Sir (No Power)

Sir (No Power), 2019.
Hand blown glass, beer staff, duct tape.
H: 24 in. W: 24 in. D: 12 in.

Little Daddy Never Loses

Little Daddy Never Loses, 2019.
Beer cans filled with concrete, cigarette butts, rope, boxing gloves, wood, butcher paper, oil pastel, oil paper.
Sculpture H: 36 in. W: 36 in. D: 30 in.
Drawing H: 48 in. W: 36 in.

Cherry Flavoured Condom (Surrender)

Cherry Flavoured Condom (Surrender), 2020. Chain, boxing gloves, cigarette, beer staff covered by red nylon stocking, hand blown glass cherries. H: 5 ft. 8 in. W: 24 in. D: 28 in.