Pear Nuallak (they/them)
BIO: Pear Nuallak was dug out of the side of Shirley Hills in the late 20th century. After attempting to engage with art history and sneezing from the dust, Pear discovered a hatred of boredom and took up a creative practice where textiles, stories, and polemic are constantly generated and re-arranged. They enjoy causing mischief in places between the country and the city while playing with the relationship between the land and the body—their own body, the body politic, and non-human bodies.
‘me and my friends on my way to f-ck up your golf course’
FROM THE ARTIST: ‘These masks are inspired by the ‘Make the Golf Course a Public Sex Forest!’; zine (2023, ed. Lyn Correlle and Jimmy Cooper). It’s about playing out a fantasy while also bringing it into reality. We need to resist this increased policing, fascism, and ever-restricted access to public space. When the powerful try to tell us who we “really” are, to capture our faces, to restrict our access to the means of life and pleasure, we need every tool we can get to fight back. Maybe these playful masks, which are breathable and washable but maybe not wholly practical, can help us do that while looking fabulous. These masks are activated by being gay and doing crime. The wall hanging transforms textile prints from staid orientalism and idealisation of peasant labour into a joyful refusal, asking questions about how gender, labour, land, and national identity are interrelated, and the power of the gaze (gays). These works engage in the act of taking back and re-activating relationships with each other and our environment. This work is part of the artist’s research into the history of Croydon’s green spaces, reclaiming their relationship to this land through queerness. They stitch to repair intergenerational trauma, but rather than stitching their identity to the model minority, they queer the surface of the printed fabric through embroidery. There is more to life than endless toil and dead stereotypes: there is queer joy.’