What’s silly, scary and sexy? Edie Fake’s comics forged an entire aesthetic of art and queer culture. Since his Ignatz Award winning Gaylord Phoenix, Fake’s comics have only appeared in underground anthologies and zines. At last, these rare comics can all be found under the covers of a Little Stranger. You’ll never look at a turkey the same way again. 176 pages Edie Fake’s paintings start as self-portraits, and from there, they make a break for it, referencing elements of the trans and non-binary body through pattern, color and architectural metaphor. His precise, intimately scaled, gouache-and-ink paintings on panel are structured around the physical aspects of transition and adaptation as well as mental and sexual health. Since moving from first Chicago, then to Los Angeles while briefly attending grad school at USC, to now the high desert of Joshua Tree in California, Fake’s work has evolved from his acclaimed Memory Palaces series — reimagined facades of urban lesbian bars and gay nightclubs — to a new feeling of vulnerability due to shifts in the U.S. social and political climate. The work blurs lines between architecture and body with structures adorned by elements that seem to be both decorative and protective. Architectural components are used as visual metaphors for the ways in which definition and validation elude trans identities. Says Fake, “More and more I’m trying to bring an anarchy into that architecture, or a fantasy and ecstasy of what queer space is and can be.”
