James Cabaniuk’s dynamic canvases – body abbreviations and converations generated by energetic smears and scratches across his thickly-impasto, glittery surfaces – speak to the emotional poignancy and physical necessity still required to unveil and protect Queer Power. These loaded surfaces initially give off whiffs of Abstract Expressionism or paintings from the School of London, but inside them charged images of Queer love slowly emerge, at once diluting the presupposed artistic machoism of de Kooning or Auerbach and, instead, unveiling the artist’s strategies of Queer opacity and temporalities, further fetishizing and critiquing the power structures that assume big, bold abstraction can only be executed by heterosexual men. Terrain now skin; planar configuration now corporeal penetration. Through personal experience and a great sensitivity for both the praxis of painting and the determination of self, Cabaniuk asks their viewer to ponder a new perspective; one that embraces camp and community, sparks both a spontaneity and space of and for sexuality, as they explore the authority of Queerness (and the ever-shifting boundaries that limit its power) in their dazzling work.