“..It was this marginality that I was naming as a central location for the production of counter hegemonic discourse that is not just found in words but in habits of being and the way that one lives. As such, I was not speaking of a marginality one wishes to lose, to give up, or surrender as part of moving into the center, but rather as a site one stays in, clings to even, because it nourishes one’s capacity to resist. It offers the possibility of radical perspectives from which to see and create, to imagine alternative, new worlds.”
Hyperqueereality like the world hooks describes exists on the wrong side of the proverbial tracks and is uninterested in moving toward the center of dominant culture. Instead Hyperqueereality like hooks’ writing invites the viewer away from the center and into the landscape of marginality.
This particular landscape of marginality exists somewhere between narcissistic fantasy and lived queer reality, perhaps utopia and/or perhaps dystopia. Its characters exist some times as superheroes and other times as antiheros, but ultimately as pluralistic protagonists.
By enticing the viewer into an alternate reality where queers are the koolist kids on the block and queer reality is the mode of existence Hyperqueereality compels us to identify with the possibility of redefinition and the reexamination of how we view, conceptualize and negotiate not only this specific body of photographic work but the ways in which we negotiate the world we inhabit.