The Giantess Roars: A Manifesto for a Mad, Queer, Feminist Giantess Rebellion was a solo performance lecture Abigail delivered during the March 2025 edition of SizeCon, an adult convention and Pride event of sorts centring and celebrating various kinks and fantasies, sexual and non-sexual alike, covered by the umbrella term of “size fantasies”: amongst others, these include Giant(ess)/tiny fantasies, and fantasies involving body expansion or inflation.
Delivered over the space of an hour, first thing on a Saturday morning, The Giantess Roars argued that producing and collectively archiving marginalised forms of divergent erotic creative expression is an inherently radical act in the face of an increasingly sex-negative, queerphobic political climate. In addition, it proposed a disruption or total eradication of authoritatively imposed cultural distinctions between what is regarded as “art” (or as “literature” or "philosophy”) and what is regarded as “pornography”, in part as a method of protecting freedom of erotic expression, and in part in order to challenge respectability hierarchies between “high” art that is determined to be of cultural value, and “low” forms of creative expression which are traditionally not considered be worthy of intellectual analysis, of being preserved in archives or exhibited in museums, or of being culturally valued in any real way. Linking Abigail’s own creative outputs, as a performance artist whose work exploring giant women figures as social, cultural, political, and pornographic icons has gained respect, support, and funding from several prominent artists, academics, and cultural institutions, with the art and literature — again, erotic or otherwise — that the size community has independently created for itself, and with the creative outputs and theoretical concerns of several celebrated "high” artists, writers, and thinkers such as Angela Carter, Anita Steckel, Michel Foucault, Jacques Derrida, and Annie Sprinkle, The Giantess Roars challenged its audience to consider the creative expression of their kinks and fantasies to be just as important, just as worthy of cultural celebration, and just as crucial to archive and preserve for posterity, as any other form of creativity or critical thought.
The Giantess Roars furthermore sought to bring a distinctly mad, crip, queer, and feminist perspective to the fore of its analyses and arguments. Typically envisioned as dominated by cisgender, heterosexual men fantasising about conventionally attractive giant women who are essentially rendered programmable vessels without consciousness or agency, who solely exist to enact a singular fantasy at the will of the male fetishist, The Giantess Roars places the perspectives and creative outputs of women, queer and trans folks, neurodivergent and disabled folks, and people of colour who share Giant(ess)/tiny fantasies on the pedestal they have, in the past, often been denied even within the size community, let alone outside it. Every single one of the size-fantasy artworks and writing extracts included within Abigail’s presentation slides, which can be scrolled through below, were therefore created by members of the size community whose identities incorporate one or more of the marginalised intersections listed above.
