• Partial Permutation

  • Pace Taylor, Tabitha Nikolai, Maya Vivas, and Ebenezer Galluzzo are transgender and gender-nonconforming artists making work that explores identity and existence. A combination of diverse mediums and subject matter offers a set of different avenues from which to approach the topic outside the lens of cis-normativity. This collection of work is presented as attempt at an expansion and exploration of the visual vocabulary of transgender art, an invitation to view such work without implicit comparison, and a nod to the possibility of infinite ways of being.

    – M Prull, curator

  • Pace Taylor, To be someone., 2021


    "My drawings are constructions of intimacy between people, specifically, all types. I build the images from found photographs of assumed queers from past decades, both alone and in the company of others. Through the translation from photograph to drawing, I invite a false memory to distort their bearings, bringing them into my world and covering them in planes of mutable soft pastel and the warmth and weight of lead. As memory and time distort appearance, the body becomes both a fixation and something inconsequential. Just an emotional shadow, vibrating color. In a rejection of the binary, the body acts as a hesitation for the viewer; an opportunity to project their own experience of being in the world; an offer to be held by another’s language. "


  • Pace Taylor, here, for now, 2021


  • Pace Taylor, sometimes I find myself, forgetting, 2021


    Pace Taylor is an artist emotionally preoccupied with Intimacy, and who we choose to share it with. Their work is often quiet, very queer, and eternally vulnerable. Taylor is based on Cowlitz land in Portland, OR. They received their BFA in Digital Arts from the University of Oregon (2015), and has shown their work regionally since then, including at Disjecta, Wieden + Kennedy, Stephanie Chefas Projects, and Third Room Gallery.

  • Tabitha Nikolai

  • 'Chronophasia is a correspondence with oneself through time. Within an archaic terminal strange text vignettes play out, ruminating on cataclysm,...

    Screenshot from Chronophasia, an interactive art game by Tabitha Nikolai. Click "Enter Chronophasia" to view the full work.

    "Chronophasia is a correspondence with oneself through time. Within an archaic terminal strange text vignettes play out, ruminating on cataclysm, aging, and the horrible and beautiful ways we spend our time. A poetic love note to Chrono Trigger and Aeon Flux."

  • Enter Chronophasia (Best experienced on desktop)

    Screenshot from Chronophasia, an interactive art game by Tabitha Nikolai. Click "Enter Chronophasia" to view the full work.

    Enter Chronophasia

    (Best experienced on desktop)




  • Tabitha Nikolai is a trashgender gutter elf and low-level cybermage raised in Salt Lake City, Utah, and based in Portland, Oregon. She creates the things that would have better sustained her younger self--simulations of a more livable future, and the obstacles that intervene. These look like: fictive text, videogames, cosplay, and earnest rites of suburban occult. Her work has been shown at the Portland Institute for Contemporary Art, the Utah Museum of Contemporary Art, Vox Populi in Philadelphia, Ganka Gallery in Tokyo, and has been covered by i-D Magazine, the New York Times, and Art in America. She hopes you're doing okay.

  • Maya Vivas

  • Maya Vivas, /härt/, 2017

    MAYA VIVAS, /HÄRT/, 2017

    BLACK: Dissected & Articulated

    "'Black' is comprised of a series of ceramic wall sculptures using black clay. Paralleling ideas of dissection and articulation in terms of taxidermy and the cabinet of curiosities, Black quite literally dissects, arranges & organizes representations of internal organs. The concept of this series originates from my own hypochondriac tendencies, mixed with ideas of elegance, sensuality, & body horror. All of these concepts are filtered through my own identities & the baggage that these histories carry.

    There is a long history throughout the world of colonization and the use of blackness as a commodity. Everything from physical bodies to culture has been forcibly made available for consumption. Through the use of black clay and the physical act of the work being hung and available for purchase, the works make a direct connection to the slave auction, implicating the viewer as a participant in the capitalistic game of purchasing black goods. These pieces of black body are on display for one to judge, revere, gawk, ponder, and covet. The choice of using a black clay body extends far beyond aesthetics. What gives this clay its color is the high concentration of the mineral manganese. While these fired works are harmless, prolonged exposure and inhalation of manganese dust, can lead to manganese toxicity. Symptoms of which include, tremors, facial muscle spasms and difficulty walking, often preceded by psychiatric symptoms such as irritability aggressiveness and even hallucinations. Parallels can be drawn between the black experience and manganese toxicity. To have breath in a black body is a hazardous to ones health."
  • Maya Vivas, /ˈgȯlˌbladər/, 2017


        MAYA VIVAS, /ˈGȮLˌBLADƏR/, 201

  • Maya Vivas, /ˈbladər/, 2017

       MAYA VIVAS, /ˈBLADƏR/, 2017

  • Maya Vivas, /ˈstəmək/, 2017

       MAYA VIVAS, /ˈSTƏMƏK/, 2017

  • Maya Vivas, /inˈtestən/, 2017


    Maya Vivas is a multidisciplinary artist working in a variety of mediums such as ceramic, performance, painting, social practice and installation. Vivas has exhibited work, spoken on panels and hosted workshops throughout the United States including venues and institutions such as Portland Institute for Contemporary Art, The National Council on Education for the Ceramic Arts, Louisiana State University and Yale. Vivas is also co-founder of Ori Gallery, whose mission is to redefine "the white cube" through amplifying the voices of Queer and Trans Artists of color, community organizing and mobilization through the arts.


    Maya Vivas artwork appears courtesy of Eutectic Gallery, Portland, Oregon.

  • Ebenezer Galluzzo

  • Ebenezer Galluzzo, Protection, 2020


    "Inspired by my personal journey of coming out as a trans man, the photographic self-portraits of As I Am unravel my truth from what is an imposed binary gender system of dominant culture that tells me my existence is unnatural. Using symbols, color, objects and body postures my images challenge outdated gender norms, while seeking new possibilities for existence through dynamic contradiction.  Contradiction opens a new path to what is possible.  Each portrait blesses the full existence of my trans identity, counters shame with pride, and honors the time it has taken me to arrive at deepening self acceptance."

  • Ebenezer Galluzzo, The Right Body, 2020


  • Ebenezer Galluzzo, Wear Bravery, 2020


  • Ebenezer Galluzzo, How The Light Gets In, 2020


  • Ebenezer Galluzzo, Where Things Shape Themselves, 2020


    Ebenezer Galluzzo is a gender non-conforming trans man, mother, and husband living in Portland Oregon.  He views the craft of photography as a way to claim and redefine the lens through which he sees the world. Photography is a tool he uses to reveal what stories are his own, and what stories have been attached to him by cultural forces outside himself. Through self-portraiture, his work challenges ideas of representation.


    Galluzzo's work has been exhibited in institutions such as The Colorado Photographic Art Center in Denver, CO and Rayko Photo in San Francisco, as well as feature shows at Paragon Arts Gallery and Blue Sky Gallery in Portland, OR.  He was an artist in residence at the Sitka Center for Art and Ecology in 2020. Most recently, Galluzzo was invited to speak at the Portland Art Museum and has been awarded the Robert Rauschenberg Residency via Critical Mass for 2020.