Cross-stitch, foundational to the embroidery arts is used in this body of artwork to deconstruct derogatory homosexual epithets. It is through the genteel language of craft, the orderly gridded pattern, and pleasing hues of cotton and wool that grossly pejorative terms are delivered. These artworks take aim at the complex relationship between sexuality, class, social norms, and self-examination. 

The artist employs cross-stitch as an act of reclaiming and removing power from hurtful and prejudicial language. Beyond the contemporary associations with the craft, cross-stitch holds a long and complex historical relationship. The artworks reference both ecclesiastical workshops where it is linked to the virtues of goodness, piety, and godliness and as women’s work for the middle and upper classes of the Victorian period. Yet, the craft is also aligned with subversion, a tool of resistance and sharing of knowledge.

Craft and history can be deeply personal and while holding universal truths. Holding hands with his lover in Times Square, the artist was addressed by strangers with homophobic and hateful remarks. It was this exact incident and the complex intrinsic emotional reaction that led to the creation of this series, stitching as a mantra, the repetition and meditative act removing the hurtful power of the language. The homeliness of the material delivers the fateful blow in incongruous and dissonant terms. Ultimately the viewing offers a private litmus test. For the artist was able to take ownership of his own path of self-acceptance and happiness. Both needle and floss are used to repair and close old wounds, to beautify old scars.