The lithograph print series Moan of Arc consists of two compositions: Moan of Arc: Technicolor and Moan of Arc: Taste the Rainbow! This satire series depicts the artist’s drag persona, Moan of Arc, a character (loosely) based on the 15th-century patron saint of France, Joan of Arc. The entity draws on the narrative of the saint's gender performance, not French nationalist symbolism. Towering over the fleeing half-naked male damsel, Moan of Arc, or Moan for short, is centred as the villain. The two editions use the digital photo transfer lithography method on separate stones. Utilizing this technological ‘cheat’ seeks to confuse time signatures within the images, contrasting the classical lithographic method with the 21st-century technique. This code-mixing continues through the costume assemblage of mediaeval-era armour and contemporary branded apparel. Wearing symbols of both hyper-femininity and masculinity, Moan thrashes outside of binary gender performance. These approaches situate Moan between timelines and binaries, ambiguous and untethered.

The overall composition and text mimic the iconic monster-damsel dynamic depicted in 1950s-1960s blockbuster horror film posters. Key references include Nathan H. Juran’s 1958 film Attack of the 50-Foot Woman. Moan of Arc: Technicolor extends this language by emulating the colour, form, texture, and saturation of these posters through gouache painting. Unravelling the image, viewers discover a queer-coded landscape. Contrary to the barren environments in the Hollywood posters, this one is overrun with fauna and flora. Tiger lilies, orchids, black-eyed susans and hydrangeas consume the foreground. The sprawling hydrangeas nod to the perceived ‘dystopia’ of a queered ecosystem in Jorge Jácome’s 2017 film Flores. Moan of Arc: Taste the Rainbow! engages in these same themes through the rainbow roll technique. This application of vibrant colour articulates the composition’s queer narrative with blatant obviousness. The use of the Pride colour sequence prods at corporate rainbow washing, highlighted by the trademarked Skittles slogan reworked in the title. Drawing the viewer’s attention through saturated colour and imagery, Moan of Arc performs a position of queer power that diffuses homophobic ideology with humour. 

This series engages in the discourse of ideological reproduction through mass media. By appropriating the visual language of these films, this series ridicules the absurd heteronormative performance and stereotypes reinforced on screen. This series further engages in the (queer) history of teratology within Western cinema’s horror genre. Drawing from teratological theory, societal anxieties manifest through cinematic monster design. As a forum for discussing a time’s pervading fear, monsters become the abject body of these anxieties. Monsters, too, are abstract definition-defying entities. This series thus inserts Moan into a longstanding articulation of the queer body. 

This satire series is presented through a queer lens, connecting drag as a space of open gender performance to that of exaggerated gender performance in traditional horror cinema. While they differ in approach, both drag and horror seek to create abstract worlds outside of mainstream reality. Through gaiety and humour, this series not only challenges conventional narratives but also reclaims the monster as a powerful symbol of queer identity, offering a subversive critique of societal norms and media portrayals.