My work examines visibility as both a necessity and a form of resistance, particularly within the queer experience. I use screen printing, drawing, painting, and installation to build environments that foreground performance, exposure, and self-construction. My print practice is grounded in CMYK processes, in which I intentionally disrupt the formula by running every color through every layer to create multiple prints from a single image, emphasizing repetition over a singular image. Across mediums, I am invested in making work that insists on being seen.

The Mirror Stage Tour is an immersive installation that recreates a green room, the private and intimate space where a performer dresses and mentally prepares before stepping onto the stage. For most performances, the green room is a protected environment that the audience never has access to. It functions as a place of preparation, vulnerability, and emotional regulation before the spectacle of performance begins. The environment is staged as if frozen mid preparation, allowing viewers access to a moment that is typically hidden from public view. Rather than presenting the performance itself, the work centers the psychological and emotional labor that precedes visibility.

The installation incorporates screen printed concert posters , tickets, paintings, costume elements, and environmental details to construct the infrastructure of a tour. These materials reference spectacle and celebrity while simultaneously revealing the stress and fear queer artists experience under the pressures of performance and self presentation. Visibility is treated not as a reward, but as a condition that must be continually sustained.

Conceptually, the project draws from Jacques Lacan's theory of the mirror stage, in which he proposed that around fifteen months of age, an infant first recognizes their reflection in a mirror and begins forming a sense of self through that external image. Lacan understood this moment as the foundation of identity, shaped through appearance and recognition rather than internal certainty. The Mirror Stage Tour reframes this theory through a queer lens, acknowledging how many queer individuals do not experience true self recognition in early childhood, but instead encounter it later in life through acts of performance or artistic self presentation. In this installation, the green room functions as a contemporary mirror stage, a transitional space where identity is questioned.

For the performer, Fiona Flores, circus and clown imagery operate as her living mirror, reflecting both folly and resilience, seriousness and survival. Within this project, the clown persona aligns with drag as a queer form of mirroring that uses exaggeration, fantasy, and humor to disrupt rigid structures while revealing emotional truth. Existing between vulnerability and spectacle, the clown embodies the same tension present in the green room, a space where identity is both protected and exposed.

The Mirror Stage Tour positions visibility as a form of resistance, framing performance as a site where queer identities are celebrated and encouraged.