Skin as Ecstatic Surface: Listening to Queer Diaspora in the work of Patrick Cruz.
Patrick Cruz is a Toronto-based painter whose artistic practice is informed by his experience of migrating from the Philippines to Canada. The Filipinx diaspora in Canada is large but often not given adequate attention in queer theories of nationhood. This article makes the argument that the texture...
| Publicado en: | Journal of Canadian Studies Vol. 54; no. 2-3; pp. 508 - 526 |
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| Formato: | Artículo |
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University of Toronto Press
Spring-Fall 2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | Patrick Cruz is a Toronto-based painter whose artistic practice is informed by his experience of migrating from the Philippines to Canada. The Filipinx diaspora in Canada is large but often not given adequate attention in queer theories of nationhood. This article makes the argument that the textures or "skin" of Patrick Cruz's canvases are an extension of his interior world and insist on the complex psychic, corporeal, and sonic contours of Filipinx migration and diasporic subjectivity in Canada. It proposes a queer theory of listening to suggest that Cruz's paintings are important for their expression of Filipinx diaspora. Bringing sound studies to bear on notions of skin, surface, and queer affect, this article makes the case that when one listens closely to a painting a new intimacy with the work and the Filipinx artist is forged. Central to arguments made is scholarship produced in the fields of queer diaspora studies and Filipinx studies. Patrick Cruz est un peintre basé à Toronto dont la pratique artistique est influencée par son expérience de migration des Philippines au Canada. La diaspora philippine du Canada est grande, mais ne reçoit pas souvent une attention adéquate dans la formulation de théories queers d'identité nationale. Cet article soutient que les textures ou «peaux » des toiles de Patrick Cruz sont une extension de son monde intérieur et insiste sur les contours complexes psychiques, corporels et soniques de la migration philippine et de la subjectivité diasporique au Canada. Il propose une théorie queer de l'écoute pour suggérer que les tableaux de Cruz sont importants pour leur expression de la diaspora philippine. En ajoutant les études du son aux notions de peau, de surface et d'affect queer, cet article soutient que lorsque l'on écoute attentivement à un nouveau tableau, une nouvelle intimité avec l'oeuvre et l'artiste est créée. Au centre de l'argument se trouvent les études produites dans le domaine d'études de la diaspora queer et des études philippines. |
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