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The paintings are, for lack of a better word, amazing. With equal parts camp and deft, and with a range of non-western and non-heteronormative referenes represented, these works feel just as relevant today as ever. Image courtesy CAMH.

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Photo by Emily Peacock. Daderko and Reichek talk about the work and life of Moufarrege, which is inseparable from his experience with the disease. The introduction is written by LJ Roberts. Photograph of the artist, date unknown. I had gone to the conference not only to meet up with friends but also to hear Alexandra Juhasz speak.

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WAVE was a collective of women, mostly women of color, who made videos about their experiences of activism and caregiving in the early s during the height of the epidemic. The slide struck me, reminding me of a small embroidered piece by the late Nicolas Moufarrege. I recalled standing in the exhibition with Sur Rodney Sur , one of its curators, starting with confused curiosity at the glittery and campy work installed in minimal salon style on the back wall of the gallery.

He explained: When men were together in hospice dying of AIDS, one of the favorite desserts they ingested was banana pudding, but banana pudding was also a term for the ejaculate produced by a good blow job. I smiled, acknowledging the humor of the piece—a cheeky humor, filled with politics, celebration, and sadness. Banana pudding brought a confluence of nourishment, impending death, and sexuality into the same room.

I like to think that both kinds of banana pudding were there as physical nourishment, as acts of resistance, and as part of an effort to survive psychically, sexually, and emotionally. Within the complexity of the raging epidemic, both banana puddings served to self-preserve and care for others. What could be more passive than pudding? But the pudding, spooned into the mouths of those men, was made from a phallic fruit that was pulverized.

I see tactics as much as a temporality pulsing through the textile work of Moufarrege. He mixed camp and domesticity—nodding to the queer stereotypes of drag. That fusion recognizes and defiantly owns what I imagine was an often-ridiculed masculinity that was pinned onto gay men at the time. Nicolas Moufarrege, Title unknown, Thread and pigment on needlepoint canvas. In their conversation below, originally printed in DUETS, artist Elaine Reichek and curator Dean Daderko speak of the power of relationships between gay men and women, straight and queer; the sharing of love, care, artistic collaboration, and creative community.

Elaine and Nicolas shared a medium—embroidery—and an extensive knowledge of art history. While Elaine was busting the canon open, shifting concepts of mark making using thread and knitting, Nicolas was infusing his work with queer politics, nuanced history, and feminism. And we know that it surely is in the hospital as well. We know that AIDS is political everywhere. In , Kate and I embarked on a long-term collaboration combining collage and embroidery: mediums Nicolas frequently used. Though Kate and I are of different generations, we, like Elaine and Dean, share a social experience.

This kinship is a key them of the work. And so as we watch New York City change rapidly, the legacy of gay men, women, and trans people whose friendships merge with creative output carries on. Together we create and care for one another to survive, to cope, to thrive, to be with one another in our homes and to help one another be at home in the world.

Thread, pre-printed needlepoint canvas, fabric, and needlepoint canvas two pieces. I remember walking downstairs into the basement and right at the bottom of the stairs on a wall painted black was a small, embroidered painting; there was a brooch attached to its surface and it had a psychedelic, mystical demeanor. I loved it and had never heard of the artist who made it.

Since I like discoveries like this, I started researching and asking around and found out very quickly that Nicolas was no longer with us but that he had had a huge influence on the East Village art scene. DD: From what I understand, he first came to America in on a Fulbright grant to go to Harvard, where he studied chemistry.

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ER: He was Lebanese, born in Egypt. The family had left Egypt for Beirut, where they lived in a high-rise apartment in an area that was relatively safe and were spared the more sever bombing. Nicolas left Lebanon in the mids and settled in Paris, where he acquired an affection for French literature and culture. He was a friend of Pierre Restany, who was a big influence.

Nicky spoke three languages fluently and was extremely sophisticated in his taste for literature. Translation, which has been central to my own work, was also part of his. Nicolas Moufarrege, Languages , DD: I remember seeing one of his beautiful embroidered works—on one side was the cartoon character the Silver Surfer next to a statement written in Arabic. A friend translated it for me. It is not the only instance of how Nicolas intermingled text with images of superheroes, cartoon characters, and cultural icons like Santa Claus.

He found a like-minded community here, for which he was truly grateful. He told me he could never imagine the degree of sexual freedom and lack of moralizing. He was thrilled! The East Village was historically an immigrant community. Much of the housing in the neighborhood was built for dense dwelling—so you had the rich and the poor cheek by jowl. If you come to New York and you want to be part of something, you can be. Things were changing. There was a whole city full of starry-eyed people, where there was too much money, too many drugs, too much everything. It was a really interesting time, but it was also a very sad time.

There was even sadness in the excess. I think globalism was part of his interdisciplinary practice. He and I talked about the global discourse on textiles, for instance. He was really looking a lot at textiles and carpets. We did not talk about embroidery in terms of Greenbergian flatness. Nicky loved Pop. DD: Clearly, yes. This and that. DD: The embellishment, I imagine, also came out of a kind of love for Islamic tile work, and classical, rational structures like the golden rectangle.

His juxtapositions—say, of a Lichtenstein-like figure and a Hokusai wave—were created in sophisticated ways. You see unexpected things push up against each other in his work. ER: There is all this information—multicultural information. And while Nicolas had an ethnological or sociological interest in jewels and embellishments, and he loved them personally, it was also part of an East Village aesthetic. He had an immediate context for his love of ornament—in the East Village at this time Rhonda Zwillinger was wielding her hot-glue gun and Artch Connelly was using every kind of glittery or shiny material.

It was a really good scene! The East Village was full of people making wonderful work. We offer exclusive works you can't find anywhere else. Collecting with us means you're helping to sustain creative culture and supporting organizations that are making the world a better place.

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