This series of nine graphite illustrations draw on research from the La Jolla Historical Society archives, internet sources, social media, and my own photographs. Each drawing functions as a collage, reimagining Black’s Beach in San Diego through layered, speculative compositions that reflect its past, present, and imagined future - foregrounding queer male perspectives.
To create the work, I visited Black’s Beach regularly, photographing the landscape, particularly the canopied areas known for gay cruising. I also sourced stills from gay porn filmed at Black’s Beach, images posted by gay men on Instagram using the hashtag #blacksbeach, and visuals found on queer blogs, making an effort to document and preserve the culture while also protecting the anonymity of those who frequent the site. Every image used in these drawings originate from the beach, anchoring the work in its geography, atmosphere, and social dynamics.
My focus extended across the multiple zones that make up Black’s Beach. These areas include The Salk Institute, a biological research facility overlooking the beach; Gliderport, a launch site for paragliding and hang gliding; the northern parking lot, a well-known site for gay cruising; Southern Black’s Beach, primarily used by surfers; Central Black’s Beach, frequented by tourists, UCSD students, and locals; and Northern Black’s Beach, which is commonly referred to as “The Gay Section.”
These zones are fluid and interconnected, with boundaries that blur and overlap. Each space carries its own codes of conduct - nuanced, informal, and deeply tied to its users. I’m especially interested in the moments when these zones collide, creating new dynamics and social interactions.
10 unbound prints housed in a multi-fold sleeve / 8×10 inches
Published in an edition of 100.
This series of nine graphite illustrations draw on research from the La Jolla Historical Society archives, internet sources, social media, and my own photographs. Each drawing functions as a collage, reimagining Black’s Beach in San Diego through layered, speculative compositions that reflect its past, present, and imagined future - foregrounding queer male perspectives.
To create the work, I visited Black’s Beach regularly, photographing the landscape, particularly the canopied areas known for gay cruising. I also sourced stills from gay porn filmed at Black’s Beach, images posted by gay men on Instagram using the hashtag #blacksbeach, and visuals found on queer blogs, making an effort to document and preserve the culture while also protecting the anonymity of those who frequent the site. Every image used in these drawings originate from the beach, anchoring the work in its geography, atmosphere, and social dynamics.
My focus extended across the multiple zones that make up Black’s Beach. These areas include The Salk Institute, a biological research facility overlooking the beach; Gliderport, a launch site for paragliding and hang gliding; the northern parking lot, a well-known site for gay cruising; Southern Black’s Beach, primarily used by surfers; Central Black’s Beach, frequented by tourists, UCSD students, and locals; and Northern Black’s Beach, which is commonly referred to as “The Gay Section.”
These zones are fluid and interconnected, with boundaries that blur and overlap. Each space carries its own codes of conduct - nuanced, informal, and deeply tied to its users. I’m especially interested in the moments when these zones collide, creating new dynamics and social interactions.
10 unbound prints housed in a multi-fold sleeve / 8×10 inches
Published in an edition of 100.
