THE GIANTESS SPEAKS
Formerly known as Nancy//the World.
Supported by funding from Arts Council England’s Developing Your Creative Practice grant series, and by creative mentorship from the 2022-23 edition of the Emergent programme — an annual programme organised by Gateshead’s BALTIC Centre for Contemporary Art and London-based disability arts organisation Shape Arts, which is aimed at supporting the UK’s most promising emerging disabled artists — since late 2023, Abigail has begun to develop an expansive multidisciplinary creative research project titled The Giantess Speaks.
Diving into the misunderstood, highly stigmatised world of niche kinks and “divergent erotic affinities” – certain somatic, imaginative, ritualistic, or aesthetic fantasy hyperfixations or special interests which may or may not be sexual in nature, but which commonly elicit emotional reactions and sensations often associated with intense desire and connection – The Giantess Speaks explores the phenomenon of queer, transgender, female, disabled, and neurodivergent folks who use their kinks and erotic affinities to explore their relationships with their divergent bodies and brains, and their relationship with the ableist, patriarchal and queerphobic world in which we live. It celebrates the potential of the divergent erotic imagination to serve as a subversive, revolutionary tool of healing, transgression and protest for the marginalised body. Furthermore, it seeks to bring the communities that have amassed around niche erotic affinities on ephemeral corners of the Internet out of the shadows and into wider consciousness.
The Giantess Speaks specifically focuses on exploring these phenomena through performing ethnographic investigations into what has, in recent years, become known as the “size community” — a highly queer, highly diverse, heavily misunderstood community consisting of individuals whose divergent affinities, whether sexual in nature or not, surround fantasies of being “giants,” “giantesses,” or “tinies,” of “size-shifting,” and/or of body expansion or inflation. The size community is a quintessential example of a community centred around an identifiably interconnected taxonomic group of erotic affinities, which has provided a safe haven for many different marginalised individuals and groups to safely explore their relationships with their identities, bodies, and personal traumas. It is also a space that has become, in recent years, a valuable sanctuary in which Abigail has herself been able to process her own traumas surrounding sexuality and gender identity.
Appearing throughout The Giantess Speaks’ creative outputs, whether performative or literary, is Abigail’s alter-ego “Nancy.” Inspired by the 1958 B-movie Attack of the 50-ft Woman, “Nancy” sees Abigail reimagine the film’s titular monster, Nancy Archer, as a proudly queer, neurodivergent, rebellious riot-grrrl giantess hellbent on eviscerating all worldly trace of misogyny, queer/transphobia, ableism, and the utterly insatiable capitalist exploitation of Earth’s vulnerable natural landscapes, creatures and communities. Through the media of live theatre, ritualistic participatory performance art, and experimental fiction, The Giantess Speaks tells the tale of a woman actively attempting to turn herself into an omnipotent giant goddess whose deviant body can fatally disrupt and destroy entire oppressive socio-political systems single-handedly. No longer needing to rely upon the deus-ex-machina of an extraterrestrial encounter to turn her into her oppressors’ worst nightmare, this brand new re-imagining of Nancy is able to mutate her misfit queer body into a sublime, sapphic harbinger of utopian potentialities using nothing but her own scientific genius and pure, irrepressible moxie — and have herself a lot of fun in the process.
“After all, nuclear armageddon ain’t nothin’ but foreplay…”
The Giantess Speaks is currently in the research and development stage. Intended to be a long-term endeavour, the project will eventually be realised in a number of connected creative and academic outcomes over the coming years. These include the collation of an ethnographic research archive incorporating research interview extracts and other collected ephemera derived from size community spaces — which the Wellcome Collection have agreed to accept into their library archives upon project completion — and a one-woman interactive stage show. It will conclude completely in 2028 with the publication of a book featuring an original piece of long-form fiction, interview extracts, academic essays, and original graphic artworks.
Current research partners and mentors include curator, independent publisher and author of Deviant Desires: A Tour of the Erotic Edge Katharine Gates; performance artist, sex educator and former sex worker Annie Sprinkle; and human sexuality scholars at UC Santa Barbara, UC Santa Cruz, and the Center for Positive Sexuality. Further research support has been provided by staff at the Wellcome Collection, and by lecturers and researchers at Goldsmiths College and Queen Mary’s College, London. Performance and production mentoring is provuded by Frankie Thompson (CAttS, Body Show), Siân Docksey (Pole Yourself Together), Laurie Luxe (Fool’s Moon, Voices of Evil), Ida Sanguine (Black Cat Cabaret), Kaytlin Bailey (Whore’s Eye View), and Everleigh Brenner (BRAVE FACE).
The project significantly expands upon a short story the artist originally wrote and performed live as part of a small solo art exhibition, titled Anguish of the Fifty-Foot Woman, held in August 2021 at the ArtWorks Project Space in Walthamstow, east London. The artist produced and published a zine featuring this short story under her 50-ft Press imprint, which has been accepted into the library collections of the Wellcome Collection and the University of Lincoln.
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From December 2024 onwards, Abigail will be sending out fresh editions of her newsletter, The Seven-Foot Slut, every single month. Alongside containing regular updates surrounding her creative research work, information about upcoming performances, and details of fresh new merchandise and creative workshop session drops in her online shop, editions of The Seven-Foot Slut will also feature links to articles and academic materials relevant to Abigail’s own research into niche sexuality and the divergent erotic, and to the global fight for sexual liberation, as well as intimate personal insights into the woman behind the work displayed throughout this website.
Archived Newsletter Articles
Archived Newsletter Articles
LIVE ART
The Giantess Speaks aside, Abigail has embarked upon several smaller-scale, but no less ambitious, performance projects throughout her career. These projects have incorporated a range of different disciplines — including immersive live art, site-specific communal performance interventions, theatrical storytelling, cabaret sets and spoken-word — and have encompassed a variety of different subject matters. Subjects of past works have included the historical and contemporary discrimination of disabled, queer and gender-subversive bodies; the British conservative elite’s deeply prejudiced attitudes surrounding race, sex, class, and the nation’s histories of imperialism and subjugation; and cisgender society’s transphobic antagonism towards male-to-female transition, in particular its inability to comprehend the motivations transgender women may have for socially or medically transitioning through anything other than through a deeply cis-sexist, patriarchal lens.
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
the fifty foot press
THE FIFTY-FOOT PRESS
The Fifty-Foot Press is Abigail’s DIY publishing imprint and risograph studio. With the help of a second-hand riso duplicator, since early 2023 she has been producing zines and risograph prints from a small studio in her back garden, which she distributes and sells via an online shop on this very website, and at zine fairs and independent art markets across the UK.
Alongside printing and distributing her own work, Abigail has also produced zines featuring the written work of some of her previous collaborators, and has also facilitated open-access printing sessions on behalf of other artists. If you are interested in printing your own work at her studio, click here for further information.
ILLUSTRATIONS
Every so often, when she isn’t working on a new performance piece, or producing zines or prints on the risograph, Abigail will produce the odd pen-and-ink illustration, digital poster or hand-drawn map. A few such illustrations and posters can be seen in her online shop, and can be viewed in the gallery below.
One such piece — …Not to Mention Napier — was a prize-winner at the 2020 ArtWorks Open, hosted by the Barbican Arts Group Trust. Detailed images of this piece, for which the artist was awarded a cash prize of £500 and the opportunity to curate her own solo exhibition, can be viewed in the banner slideshow above; similarly, an image showing the piece in its entirety can be viewed in the gallery below.
THE STRANGERS’ GUIDE
is a small series of hand-drawn maps Abigail began producing over the winter lockdown of 2021. The Strangers’ Guide details the street plan of central London from South Kensington to Aldgate and King’s Cross to Kennington, and features over 200 pinpointed landmarks. A timeline of the city’s history and a brief guide to certain local neighbourhoods can be found on the reverse of the folded version of the Guide, available to purchase through Abigail’s online shop. A white-on-black version of the map, giclee printed to A1 scale on archival-quality 300gsm Hahnemühle Pearl paper, can also be purchased from the same store.