CRIB is an anfractuous performance and installation that digs into the concept of dominion and protected space. Using costume, sound, and movement spanning a pool of Black American Popular aesthetics and subculture, the work operates as a kind of Home--the land of a Black force or entity. The constructed figure witnesses the external other, "peeping through the front window", while simultaneously conjuring and maintaining bliss, danger, and pleasure indoors. It's my house, I pay the bills around here. Allusions to infancy/youthfulness per the implications of the title aren't lost as techniques such as tantrums, broken/lost toys, and bewilderment emerge and subside...the CRIB cruises, it becomes a vehicle for making or understanding the needs of self. Materials such as brown Legos litter the floor, suggesting an envisioned existence is being made or at least being toyed with. It's a summoning of desire to fruition. A kind of "Autoconstruction" seen in forms such as Vogue/Ballroom. The gallery - becomes the home - becomes the body,...as costume here operates as a tool to discuss claim and boisterousness through bareness alongside the desire for contemporary armour. The desire to be jacketed/covered for both comfort/security but also spectacle as the textiles are decadent and baroque in presentation/conception. But decadence is functional. Here, costuming through fashion denims, tiered footwear, and Black aesthetic remnants like 613 extensions + transmogrified durags not only recall the physical preparation of a body to face the outside but also begins to surface a thought on presence...a thought on Queer Negro Coolness and "It"-ness. A thought on how to be a large Black hole. Oh how coolness can be a pure existence...a tool...a weapon in the kitchen drawer.