This framework is a series captured with live in-person and virtual audiences which is then archived, virtually; creating an Augmented Reality Treasure Hunt, a history of the waterfront through pairing Salish Indigenous communities with artists creating new works centering storytelling. Each art piece would be a clue, telling a story of the Seattle waterfront, pointing participants to the next station. Participants can engage with the Treasure hunt from home including live feeds of the Pier. This will also allow greater access to programming for people with disabilities. This technical framework includes technical support provided by our team of marginalized techies.
At barely 18 (1997), I started a youth arts program. Then I organized an Earth Day, directed by students and community groups, so successful it turned into a whole week of programming. At 25, I started Conspiracy of Geniuses (CoG), the first arts organization (in Seattle; Washington; the PNW) that centered trans, queer and poc artists. By 30, I was leading large scale, student driven, programming at Portland State University (PSU) including the only city wide Trans Day of Remembrance and the first Students of Color Conference. Then, I helped organize the first Pride sponsored Portland Trans March. Upon returning to Seattle, I successfully resurrected the Gay City Arts Programming to center qtbipoc artists – without me it would have never been able to be what it is today. Recently, I have organized large scale events with numerous Seattle organizations including Fred Hutch HVTU, UW CFAR CAB, defeatHIV, SWOP Seattle and UIHI/SIHB. In 2018, I wrote, received and managed a $20,000 DoH research project focused on trans women and HIV disparities. I am also fluent in coding, interactive technology, and collaborative with alternative tech communities. I have a proven record of seamlessly integrating with a diverse spectrum of communities.
My manner is one of self-educated solidarity. As an artist, I continually research local (and national) indigenous and colonial histories. I have formed numerous connections with individuals at local native not for profits. For over twenty years I have worked with marginalized individuals… worked specifically with artists this project is hoping to recruit. In 2004, i officially started CoG which spun numerous successful economic artistic opportunities. CoG centers qtbipoc artists in leadership and cast a wider intersectional community net which includes anyone with intersectional identities, i.e. queer, trans, Black, Indigenous, people of color, people with disabilities, etc. I began facilitating and consensus building in 2000. In 2010, I started focusing on conflict resolution through ending racial and other systematic oppressions. Systematic injustice is our biggest hurdle. Projects are as successful as the system guiding them. Marginalized individuals have no control over the systematic oppressions we face in leadership positions. My strength is in being able to explain these barriers. A good liaison will center the constituency while being able to speak the colonizer language. In choosing references, given current stressors while prioritizing those who can speak more to working with larger budgets, well… they are all white people.