Death of the Fabulous embodies the experience of living as a queer individual in the rural South. A skinless coyote mount, covered in rhinestones, symbolizes a duality: the rhinestones radiate the courage of queerness, while the unprotected form reveals deep vulnerability. At its feet, a scattering of fur represents the shedding of one’s former self—exposing the raw truth despite the dangers it invites.

In this piece, I delve into the nuanced intersectionality of Queer identity and rural culture, particularly focusing on the act of hunting as a space of reclamation and empowerment for LGBTQ+ individuals. Traditionally entrenched in heteronormative masculinity, Queer folks are reshaping hunting as a means of reconnecting with nature and challenging societal norms. Ethel stands as a poignant embodiment of this Queer resurgence within rural America, illustrating the potent narrative of reclaiming agency and identity in environments where conformity often prevails.

I am contemplating the concealment of Queer individuals within rural environments, particularly those whose explicit sexuality remains veiled beneath the surface. Focusing on the nuanced strategies employed by members of the Queer community to camouflage their identities, navigating societal norms and heterosexual standards. This piece is intricately crafted to intentionally obscure the perception of identity, mirroring the deliberate concealment often practiced by Queer individuals in rural America. Utilizing badger hide as a canvas and incorporating laser-cut photography.

In my exploration of the intersection between Queerness, leather culture, and the hunt, I am delving into the realm of bison hides and using a laser-etched image-making process. This artistic endeavor aims to dive into the nuanced layers associated with hunting within the context of Queer identity.

Beneath the surface, the piece invites contemplation about what might be concealed beneath the skin in terms of Queer identity. It functions as a commentary on the multifaceted dynamics inherent in the hunting landscape, challenging societal norms and providing a platform for Queering the narrative.

Bison Hunt - is a film documenting the journey of a hunt that I was invited to participate in at the Northern Ute Reservation. Through this invitation from collaborator and friend, Chelsea Kaiah, I was able to witness and partake in a hunt that has been occurring on this land for millennia - witnessing the inherent Queerness within this landscape. Working with Chelsea’s family, we as a collective traversed the mountainous landscape of Utah to hunt, gather, and process this bull Bison. Through this, we were able to feed ourselves and others on the reservation for months to come.

Beyond the surface, the importance lies in what could be hiding underneath the skin in terms of Queer identity. This serves as a commentary on the intricate dynamics within the hunting landscape, challenging norms and providing a platform for Queering the narrative. The goal is to foster dialogue about the diverse and often overlooked facets of identity and desire within the context of the hunt.

KUSTER is a celebration and heartbreak of being a Queer hunter in the United States. Showing the life and death of the hunt, whether it be the hunter or the hunted.

With the stories of Mrs. Eloise, a 101-year-old Lesbian hunter, and the imagery of Ricky and his friends on the hunt here in Colorado; I hope to showcase this niche group of LGBTQ+ people and make us known.

For the full film, please contact Cody Norton

Exploring the fetish and Queerness of the hunt.

The Swing examines the lesser know people of the North American Hunting scene. As queer hunters, we witness heterosexual hunters constantly flaunt their sexuality, while we must suppress ours in these spaces. So, how would it look if we got to express ourselves in this same situation? Situated under the deer stand is a sex swing, hidden still, but more prominent in the space where hunters frequent.

While in Eastern Kansas, I had the privilege to meet with five closeted hunters. Through this, each hunter wrote a letter to themselves or the whole hunting community, addressing why they were still in the closet. Due to fears of coming out, these hunters never have had the chance to truly express themselves. With these statues, this is their chance to do so, while concealing their identities.

Hunting in the Rocky Mountian West is a film discussing being queer within the hunting community. Expressing how queer people navigate a predominantly heterosexual white male-dominated field and feel in sync with the hunting culture around them.

For the full video and more information, please contact me.

Double-click the film for a full-screen experience.

Keep it in YOUR Pants is a reaction piece to the many similar stories I have heard from hunters. Getting the statement of, “Okay you’re gay? Keep it in your pants.” So, now what? How does keeping it in our pants look like?

This film was a Bison herd interaction I had in Eastern Kansas. Though many have told me the shire size and power these Bison possess, it had never occurred to me until seeing them in person. For the first time, I had never felt as if I fit the role of hunter, but possibly the hunted. But I had my camera to “shoot” with and a shotgun “mic” for audio, so was I actually the hunter?

The Deer Stand Runneth Over describes the over baring feeling of how white heterosexual men dominate the hunting scene and outdoor spaces. Not allowing others to feel welcomed within these spaces.

Artist Cody Norton grew up in Texas hunting culture. While learning to hunt doves he would practice using clay pigeons. In this interactive piece, he wants to see how an audience reacts when being forced to take part in destructive action. While using a hammer, participants unveil the message of, “Make space for the things that are gone so they will be not forgotten.” An ever circulating emotion of joy and destruction, but not knowing the consequences. Norton hopes to give people a sense of how our actions now, can affect the future.

This piece is a self-exploration of queerness as it relates to hunting practices and the closet. How do queer people feel within spaces of hunting and country culture in the South, and where do they seem safest in these difficult and dangerous situations. Through self-representation, this space is my own safe haven, a place of rest and solitude but also having the lingering thoughts of being queer in the south; represented by the coyote. Items in the piece represent me as a queer person not only in the south but how this space can travel to where one is no matter the situation at hand.

Post Primary: After Hours. A piece discussing the revisitation of past involvements in dove hunting. While growing up in Central Texas, artist Cody Norton became involved in the sport of hunting. Discussing the repetition that occurs when trying to perfect the sport. And trying over, and over again to blend in and fit into his family's complex dynamics. It felt as if for years, he would never complete this feat, at the expense of another being’s life. Norton is dealing with the complicated relationship involved with this sport. And trying to discover his belonging to his family.

If only Grandpa knew, is an installation where the life of the past and present are intertwining. There are plenty of past experiences and knowledge passed through generations of family through folklore, tall tails, and old wives’ tales. These tales and knowledge passed down generation by generation got Cody Norton to where he is now. Growing up in the South he learned how to hunt and process these animals, with the mastery of this skill and help from his father.