Featured are photos of Marsha P. Johnson, the transvestite drag queen and member of GLF who started STAR (Street Transvestite Action Revolutionaries) along with Silvia Rivera. These are beloved queer ancestors.
#stonewall #silviarivera #marshapjohnson #glf #pridehistory 3/3
This thread contains photos from the 1969 Stonewall riots, Much love to all queer and especially trans individuals fighting out there today. We have come so far and we still have so far to go. Stay strong, stay alive, and fight back!
#stonewallriots #queerhistory #pride #stonewallanniversary 2/3
It's my birthday today that means the 56th anniversary of the Stonewall Riots!
This is a drawing commemorating Marsha P. Johnson and all other Black trans women and queer individuals who have fought for gay and trans rights around the world. I would not be able to be who I am today without them 1/3
A drawing of a swampy ravine. Black running shoes stomp across a boardwalk and through skunk cabbage. Alder trees stretch into a darkened sky. Two people sit amidst overlaying grasses, ferns and salmonberry. Three bears traverse over the drawing, separated from the scene by a white otherwordly outline. The sky is made of strange clouds and ink-blot sepia leaves. Strange buglike plantlike shapes line the spilling border.
Ravine, 2025, pen, marker, acrylic ink, alder ink from ravine on paper, 8 x 11.5 in.
Fabric-stuffed rats with button eyes skitter around scavenged, cleaned, then stitched garbage. The garbage ranges from bottle caps to plastic toys, clothes tags to food wrappers, masks to duct tape to a street sign. The rats are sewn onto floral patchwork fabric that has been stretched over a canvas frame.
Rat Nest, 2025, found fabric, thread, buttons, and garbage sourced from woods, 30 x 30 inch
A painting of a public park in the liminal night. Figurative shadows are hidden amongst trees, benches and local flora. Raccoons climb on a children's play structure. Streetlight casts pools of light over chainlink fence and a train glides in and out of shadowed coniferous trees. It is painted on pieces of patchwork fabric sewn together into a canvas surface.
Dwelling Grounds, 2025, oil paint on sewn scrap fabric, 36 x 60 inch
A painting of a small red house sitting in red grass in a roiling storm. The storm is formed of swirling clouds, thickly painted lightning, ghosts, detatched wings and giant flies.
Storm, 2025, oil on canvas, 24x18 in.
A painting of four swans. A trumpeter swan, a mute swan, a tundra swan and a whooper swan spread their wings amidst gritty textures. A floral patch floats above them.
The Swans, 2025, oil and textile on canvas, 18x24 in.
Patchwork fabric stretched and painted with figurative icons, flora and fauna. These include an embroidered Kermit the Frog and Garfield, linocut print cicadas, trans starbabies, and a crow stretching out over mountains. Clownfish, broad-barred goby, damselfish, and a black sea bass mer-medusa swim up one side of the painting while a torn ship carrying a peacock and an oak tree moves in from the other side. Each piece of patchworked fabric creates a different texture over the painted work.
Where is the Body?, 2024, acrylic, linocut and embroidery on patchworked scrap fabric, 25x35 in.
Marsha P. Johnson climbs a streetlamp pole to drop a brick on top of a cop car. The brick shows a path struck in rainbow that explodes outwards to show the oncoming impact on the car. Stonewall Inn burns in the background. A luminescent shawl drapers her shoulders and bra over a short pink dress. She is like a saint.
Stonewall Inn 1969, 2024, pencil crayon, marker and gel pen on paper, 30x22in.
A painting of a figure lying on a bed.A frog, horseshoe crab, and other little spirits float around them on the bed. A desk and drawing table sit on the other side of the room covered in paint tubes. Plants sit in the windows and hang from the ceiling. Grocery bags have been left on the floor. A desk chair is draped with a blanket. A painting of a two headed deer is hung over the bed. Posters of little creatures, ghosts and trinkets adorn the wall.
Room, 2024, acrylic on canvas, 16x20 in.
An embroidered piece depicting four people preparing for a night out in a bathroom. Thread knots loosely where the skin of the body would be while their clothes are made of denim, floral print and glossy rayon dress. The bathroom itself uses fleece, lace countertops, velvety walls, silky floor and cosmetic bottles, and rayon porcelain all with an elegant polyester floral backdrop while a hand-embroidered plant climbs chaotically up the wall.
Gathering Place, 2024, scrap fabrics: denims, cottons, fleece, lace, veneer, thread, 18x24 in.
A painting of a person, half blotted out by stars. They climb the skin in fleshy reds. They burst and fall and glow. One sits in front of the person's face, separating it from the three-headed hare that rises up from the bottom left corner of the painting.
Starchild's Omen, 2024, oil on canvas, 18x24 in.
Two people get ready for a night out in front of the sink of a green bathroom. One figure wearing a floral vest points a brush at their eye. The other figure wears an over-the-shoulder shirt and fixes their hair. A mini monstera plant climbs up the wall. The shower curtain crinkles behind them. A closed window reveals darkness. Wine glasses, a makeup pallet, potted plants and nail polish bottles cover the counter.
A painting of the same bathroom, but pink. Another figure has joined the other two. They have short spiky hair, a cropped tank top, and jeans on as they fix the makeup of the vested individual. The plant continues to grow. The shower curtain softens. Everything on the counter has moved around ever so slightly. The window still stares into darkness. This painting has a bright and celebratory energy.
Bathroom Series, 2024, acrylic on canvas, 18x24 in.
A painting of a coyote with a squirrel in its mouth standing amongst city road signs, fences, streetlights, telephone wires, a small children's playground, a bus stop, cars and distant trees. A second coyote lies behind the wooden fence of a garage. An electric transformer tower, streetlights and signs rise scraped and chipped into a rusted dusky orange sky.
Coyotes at Night, 2024, oil on canvas, 26 x 36 in.
A painting of an underwater scene. Three bodies float in a bull kelp forest, hair blending in with dragging kelp and skin tinged an undead scaly green. Above the water sits the breakwater lighthouse of Ogden Point, mountains layered against the ocean's horizon line.
Ogden's Curse, 2024, acrylic on canvas, 36x26 in.
A painting of a skeleton shredding, and by shredding I mean skateboarding, down the street. The skeleton has its knees bent and arms spread outward as it flies through the air on its skateboard. Oil spill clouds float across a purple sky. Streetlights bend unnaturally with blobs of heavy light. Houses rise off the edge of the sidewalk. Status mission: sick.
Throckmorton, 2024, oil on canvas, 18x18 in.
A painting with fabric sewn into it. Swathes of all black fabric, leather, plaid, belt hooks and knit, reach around the sides of the canvas, hugging it, holding it, stitched inseparably from it. The canvas itself is washed out like skin and fog over doodles of ghosts, sunshine, squiggles and reaching hands. In places, the canvas raises and becomes rough and bloody with red thread and paint before a hole stitched with lace emerges.
I'm Tearing Me Apart, 2024, leather, belt buckle, plaid cotton, lace, knit, thread, acrylic on canvas, 18x24 in.
A painting of a crouching child with an injured knee. Emerging from the injury is red lace and a plastic lobster. They wear a striped shirt, blue shorts and purple accented running shoes. Their hands are positioned on their knees. The child's face is hidden. In the bottom left corner a sheet containing science notes on blood and the heart is painted over.
Sidewalk Scrape, 2024, acrylic, paper, lace and plastic lobster on canvas, 18x12in.
18x24in.*
A drawing of a trans angel. The angel's wings melt with wax. It holds its hand in the air in Da Vinci's biblical hand. It sits cross legged. Its chest has both boobs and topsurgery scars with two pairs of nipples. The body is coloured with rainbow swirls and spirals. It is covered in body hair. It is surrounded by textured gold. It is holy.
Transangelic Exodus, 2023, pencil crayon, oil pastel, graphite, gel pen, metallic acrylic ink, corduroy and wax on paper, 24x18 in.
A denim coat painted with a skeleton of ribs, spine and hips, carnivorous plants and poisonous flowers. The skeleton is covered in fungi while growing up from the bottom of the coat are venus fly traps, pitcher plants, sundew, foxglove, stinging nettle and castor bean.
Venus's Venemous Coat, 2023, acrylic on denim coat, 30x30in. coat size: M
A fiery painting. An old woman with an umbrella plays a guitar behind a younger man, also playing a guitar. They sit behind a bridge that disappears into blackened forest branches. Waves of fire lick at the bottom of the painting while above cathedral windows stand silhouetted against a burning forest. Two sea stars float in the windows above the two figures.
Forest Fire Season, 2023, 20x28 in., oil on canvas.
A black and white drawing of Madonna and Child. Madonna, cloaked in fabric with a face of anemones, tenderly holds her baby son, their skin bursting with goose barnacles. The baby's head is an October sunflower, and he holds dandelions in his arms. Acorn barnacles climb up the bottom of the page. Behind Madonna's halo there is a festering of creatures including beetles, jellyfish, sea stars, a butterfly, a dragonfly, crab and a deer.
Madonna and Child, 2023, 22x14.5 in., chalk pastel, oil pastel, pen and charcoal on paper.
2024*
An apocalyptic landscape. Above: deer, jellyfish, sea stars, deragonflies, fish and bugs swarm from the top right of the drawing against a chalky gradient sky. A streetlight rises from the lefthand side, bursting with light. Electric towers, telephone wires and a church sit toppled amongst anemones, dandelions, a sunflower, acorn barnacles and gooseneck barnacles.
Denouement, 2023, 24x30in. chalk pastel, charcoal, pen, pencil crayon on paper.
A painting of a pit full of deer. The deer look a little crazed and are all painted differently in reds and purples with highlights of extraterrestrial green. The pit is situated in the midst of a grassy landscape in front of a house with windows lit florescent green. The sky is timeless in reds rising to blues behind shadowy trees.
Deer Pit, 2022, 26x36 in., oil on canvas.
My grad comic anthology has launched on itch.io! Digital copies available here, and physical copies to come!
marshbabe.itch.io/lovely-dark-...
A figure sits, legs crossed, hands grabbing at its own face. Waves, patterns, lines, swirls, fill in shadows and define feature and form. The face is smushed upwards on one side and dragged downwards on the other, one eye mashed close, the other open and tired. The hair is curly, mullet-length. The torso slouches slightly fowards, rolling in on itself. The figure is split into 7 pieces of paper that come together to form a whole.
Topography, 2022, 40x40in., pencil crayon on paper.
