She's punk. she’s been a fucking punk, she grew up punk. southern punk. southern cunt. southern pussy. southern punk.
she punk.
she a punk.
she a black femme punk nigga bitch.
she a black femme punk nigga bitch.
she a black black fem black black fem black black fem black black femme..
she a black, femme punk.
she’s so sweet. she so sweet. sweet gurls. she bois.
My Last American Dollar Studies, Photo by André of ]Performance S P A C E[ from a 6 day, 6 hours everyday performance working with wood as a material a part of DRAWN in Folkestone, Kent in the UK, 2016
You have to be more than bitchy, bitchiness only takes you to the cliff, you can never get to the edge. You can never lose yourself. Fear is binding bb. bitchiness is stifling bb. trifling bb and Death is just past the edge, the last drop. Spills. Onto my tongue, I taste a mixture of you and it. Yeast, fermenting in my inwards. Feel it block the passage way, slips down my throat through the small and large intestines. We never really think about choking while eating and drinking, until we can't breathe. Gasp for the next breath. For a clear path in the air flow, blowing on a hard dick is dangerous. Slowing the flow, causing the passage to be temporarily clogged, toilet. U C. When hoes think you only speak coon but you really a fox, u a foxxxy type bitch #knowyourselfworth #badblackgal. when you a bad black gal. You can never get stuck at the cliff when you are looking for the edge. The cliff leaves you speaking con, white washed, washing my body with soap. Rinsed. Baptized. Cleaning, you can never remove my roots, my blackness. She is always with me. You see. I see. We can C, u.
Don't let the look, don't let the voice, don't let the speech fool you. Gurl, Only fools get played, the game is on. It's always been on. Who we running for? who you running from? Who's the captain of this ship? How many waves we traversed to get to here. To get to these.These shores. Here's where, I fucking start. Come on ladies now let's get information. Come on ladies, now lets get in formation. prove to me you got some co-or-da- nation. Beyoncé, ms carter. She cute but home girl ain't the start. Mix that Mayflower wit them white savages you get a people. thats ready to fucking shit. thats ready to shit. ready to fucking shit, fuck shit up. waiting for a fucking revolution to hit. She serving. She me. She she. #girlslikeus.
Bb. Living in.perpetual hashtags will get your ass caught, up. Rise up b. Know ya self. No body knows your shine your angle your view your position betta than u. Let them hoes talk, keep ya heart in the right fucking place. Fuck shit up in the best way. Make them work fa u. Move dat ass, twerk for u. Nigga say my name, while you whistle. Suck my fucking pussy while you jiggle. 1 faggot 2 faggot 3 faggot 4. She feeling faggody. She feeling fag-gody. She feeling fag-godessly. Step ya pussy up, bitch. Step ya pussC up bitch. faggots on fleek. Damn. I Got my goddess spirit, my goddess fucking faggot spirit on fleek. N if u in ya feelings u can kiss my ass bitch. While I shake on top of 4 bricks.
Sweat.
She wet.
She Dripping faggot sweat.
Taste like caramel, chocolate, coco. Minaj. what she said? He in love with the coco. But she no fuck white men. n its Always for the girls. I said we are our sisters fucking keepers!
I got you boo. Gurls on the fucking cum up. Eat it bitch for 1 up. Mario. Riding hoes like yoshi. Super Nintendo. Flowwwwy. Fuck me with ya spirit, say my name. So I can hear it. Look me in the eyes so I can feel it. Riding waves, digging graves. takes these hoes on a play date. Rebirth. Rework. Resist everything these days. I know what this means but IDK...
My Last American Dollar Studies, Photo by André of ]Performance S P A C E[ from a 6 day, 6 hours everyday performance working with wood as a material a part of DRAWN in Folkestone, Kent in the UK, 2016
It difficult to put into to words, hard to formalize. It's more of a feeling, it's emotional and hard. Not rock hard, but drywall hard. tough but breakable. let me break you off, break you off with something good. and by good i mean bad but nice and slowwwww
Distance is Not Separation: Section 1. Selective Seeing: Corners, You, Section 2. Painted Images, Colored Symbols: She's Hard, She Q, photo by Meghann Gilligan, T:BA:16 Festival, 2016
Taste like caramel, chocolate, coco. Minaj. what she said? He in love with the coco. But she no fuck white men. n its Always for the girls. I said we are our sisters fucking keepers!
I got you boo. Gurls on the fucking cum up. Eat it bitch for 1 up. Mario. Riding hoes like yoshi. Super Nintendo. Flowwwwy. Fuck me with ya spirit, say my name. So I can hear it. Look me in the eyes so I can feel it. Riding waves, digging graves. takes these hoes on a play date. Rebirth. Rework. Resist everything these days. I know what this means but IDK...
It difficult to put into to words, hard to formalize. It's more of a feeling, it's emotional and hard. Not rock hard, but drywall hard. tough but breakable. let me break you off, break you off with something good. and by good i mean bad but nice and slowwwww
Bitch, I knew you would be here, I've been waiting for you. There's no cutting corners. They are always looking for a corner, to corner you. To make you stay, to make you prey, to make you wait. imma make you wait….
You always think you is safe. Seeking safety under the low lights. Turn the lights down low. Bob Marley and LH, baby. Let your moon come, let your moon cum. shining in. Wait. Imma make you wait.
Slow
down
baby.
So
slow
you
feel
like
you’re
time
traveling.
Distance is Not Separation: Section 1. Selective Seeing: Corners, You, Section 2: Painted Images, Colored Symbols: She's Hard, She Q, Photo by Jeremy Sublewski, Rapid Pulse International Performance Art Festival, 2016
So low. Drop that ass down low. You like it from the back. Faceless booty shots. Don't move. Stay right there. She nasty. Ew. She nasty ew. She nasty. She grown, oh she think she, she think she, she grew up down low. Playing on the corner till the street lights came on. Out there on the streets. I told you, what I said
The Poetics of Trespassing, Spill Festival of Performance , Photo by Guido Mencari
KEEP MY SISTERS OFF THE FUCKING STREETS!
They always want to see us on our hands and knees.
Don't forget we need too. And needing ain’t that fucking easy.
When you are young,
gifted
and black
and brown.
Miss Simone. I hear you. Neo slaves, slave femmes with no visible chains, enslaved, invisible goddess react. Visibility on deck. They say they can see us, now. We re act. They say acting comes natural but I'm real, she real? Imma a real fucking goddess gurl. What they say? Hash tag gurls like us, purple years, In purple rain, red flames.
Distance is Not Separation: Section 1. Selective Seeing: Corners, You, Section 2: Painted Images, Colored Symbols: She's Hard, She Q, Photo by Manuel Lopez, Rapid Pulse International Performance Art Festival, 2016
I'll burn this shit down before I act for you again. Surrender for you, again. Gender non confirming bitches stand the fuck up. Bitch I see u. We outche too. Fuck it up. Femmes like us. The kinda power that let you shoot a men in ya music video.
U needed me, need us! N I'll never promise I to be a good girl gone bad. I'll never promise to love u more than I can give but. I'll love you forever my sisters. N I never get tired of saying
I
FUCKING
LOVE
YOU.
*Text from Distance is Not Separation: Section 1. Selective Seeing: Corners, You, Section 2: Painted Images, Colored Symbols: She’s Hard, She Q, 2016
Distance is Not Separation: Section 1. Selective Seeing: Corners, You, Section 2. Painted Images, Colored Symbols: She's Hard, She Q, photo by Meghann Gilligan, T:BA:16 Festival, 2016
Keijaun Thomas creates live performance and multimedia installations that oscillate between movement and materials that function as tools, objects and structures, as well as a visual language that can be read, observed, and repeated within spatial, temporal, and sensorial environments. Her work investigates the histories, symbols, and images that construct notions of Black identity within black personhood. Thomas examines, deconstructs, and reconstructs notions of visibility, hyper-visibility, passing, trespassing, eroticized, and marginalized representations of the black body in relation to disposable labor, domestic service, and notions of thingness amongst materials addressing blackness outside of a codependent, binary structure of existence. Thomas earned their Masters degree from the School of the Art Institute of Chicago. Thomas has shown work nationally and internationally in Los Angeles, CA; Portland, OR; Chicago, IL; Boston, MA; New York, NY; Miami, FL; and Taipei, Taiwan; Paris, France; Mexico City, Mexico; Santiago, Chile; Saskatchewan and Vancouver, Canada and the United Kingdom.