Views III is a fine art critique on the human experience 

The third movement of the Views collection is focused on dialogue. It is a point/counterpoint exploration of communications, technology, and queer sexually. Images and handwriting create a visual environment where language reveals varying perceptions from viewpoints that may be any assortment of straight to queer, celebratory to predatory, religious to lecherous, or supportive to radical. 

These narrative landscapes are physically layered over ink paintings, raised by just a few centimeters. Duality is present in all the works, which seem to argue with one another on symbolism and meaning. 

This hybrid reality recalls the layered existence of queer masculinity. The paintings explore the objectification of the human experience, using a visual language of power, light, and sexuality. The encounters—from online comments to locker room glances—are recognizable to a contemporary audience because they are harvested from our post digital reality. 
Each of the works is paired with its cut companion piece, offering an attempt to reconstruct context, while simultaneously emphasizing the solitary nature of holding a single view. 

There are three sizes of works in Views III: 10 x 10, 12 x 18, and 18 x 24. They are all acrylic ink and sharpie pen layered beneath hand-written, internet-based, narrative poetry. 

Anatomy of a Smile 

When Lynne and I met, we spoke about our process, our mediums, and our interests. Right away, we narrowed our scope to ‘happiness.’ I remember she said, “Everything I see right now is a reaction to the negativity in our world; wouldn’t it be amazing to create something that inspired happiness?”
As we explored the things that make us happy, we realized that our smiles, and the smiles of others, hold a great deal of power. Anatomy of a Smile and Smile Reconstructed are outward expressions of happiness, cut piece by piece in the evolution of a breaking smile.

Anatomy of a Smile was a challenge to both our skills, requiring a great deal of planning and focus to render drawings that would eventually animate in Smile Reconstructed. We purposefully chose animation and video as an extension of our digital and hand rendered works because we wanted to challenge the potential of our craft. Both animation and video are relatively new both of us, allowing us to flex both our traditional and forward-facing artistic skills.

Anatomy of a Smile and the companion video piece, Smile Reconstructed, are 36 hand drawn, painted, or digitally rendered images of our smiles. Lynne McDaniels painted in oil and drew charcoal images of my face. I drew and rendered images of Lynne’s smile. Each piece of the set is 4 x 6 inches, pinned as specimens to the wall. Smile Reconstructed animates the smiles, highlighting the physical expression of happiness. 

There are no safe spaces

There are no safe spaces.

Boys at my high school jumped the gay kid, Michael, after he came out. They teased him relentlessly. They hit him. They tripped him. They drove him from school.

I was the next in line when it came to queer hatred. They called me faggot and queer and gay boy. Once, someone threw an open container of milk at me as I walked through the full cafeteria. I was soaked, my jacket ruined. The Principal told me that I had brought it on myself.

‘What do you want me to do?’ the good, Mormon community member scowled at me from across his desk. More than half my life has has passed since then but I still remember.

There are no safe spaces.


As a grown man, the hate can be constant. My one haven is home — West Hollywood, a gay neighborhood carved from the heart of Los Angeles. In the seven years I’ve lived there, I’ve only been derisively called a faggot on two occasions, both by teenagers.

But before I moved to an urban setting, I taught in California Public Schools and lived in a large commuter community in suburban LA County. At least once a week I was called faggot, queer, pervert, or in some other way made to feel uncomfortable in my queer skin. This was always in public spaces; parking lots, the mall, the grocery store, coffee shops, restaurants.

It was so common that I felt normalized to the jeers. I barely heard them. I’d wave them off. At the time, I felt that I couldn’t affect the behavior of strangers; so I ignored them.

Work was worse. Children regularly tossed homophobic epithets, both in my direction and broadly to each other on campus. Each year at least one parent would pull their child from our district because they believed people like me shouldn’t be allowed to teach.
Teachers and administrators were useless in their support. Once, when I filed a formal complaint, the teachers on the task force became angry with me for making a big deal out of ‘a little name-calling’ (as if they let a child call them faggot without consequences).

There are no safe spaces.


My friends and I made places for ourselves at the local gay bar, the book store, and my apartment. We were a cohort of camaraderie that helped each other exist in the world that didn’t want us.

Even together, there was no guarantee of security. At coffee shops, the common assault was from good Christians calling us sinners, shielding their children, or worse, saying they’d pray for us. At the book store, it wasn’t uncommon to be called a faggot or dyke if we lingered too long before the single shelf of queer books (my entire literary access to queer publications).

I can recall two shootings at the only gay bar in town, unabashedly named The Back Door, though I’m certain there were more. One happened during the day, a bit of drive by vandalism. The other happened when I was there – a couple of shots our direction from the parking lot. No one was hurt. I don’t think the police believed/wanted to believe that it happened.

There are no safe spaces.


When we stayed in Fairbanks, Alaska, my boyfriend and I slept in separate beds. There were rooms with larger beds available but for our safety he chose a room with twins.

Rarely have I ever expressed affection to another man in public. Derision has even follow in private settings: I had once been told that my gentle touch, on the shoulder or thigh of another man, made others in the room uncomfortable — the same touch straight couples so easily take for granted.

I’ve refused affection in public more often then I’ve accepted. I like to think that’s a matter of taste and propriety; but if I leave out fear in this equation, I’d be lying.

There are no safe spaces.


When I woke that Sunday, a mind full of the upcoming PRIDE parade and a new project, I was appalled, but not surprised, to see that a gunman had killed twenty at a gay night club in Orlando.

Through the morning, I followed the story, weeping with the queer community as we learned that twenty was in reality forty-nine with more than fifty others injured. I stood beside my local community as we marched for PRIDE, signs silently echoing the loss in Orlando.

And even those moments were wrought with danger: a man headed to the event had been arrested hours before, his car laden with an arsenal and explosives: the worst members of Christianity represented their community with signs and bullhorns proclaiming that “God hates Fags.”

There are no safe spaces.

Indeed, since the massacre at Pulse, Orlando, politicians, pastors, and everyday Americans have proclaimed that the victims deserved their deaths for simply being queer (or queer adjacent).

These examples are a small taste of constant messaging of hate and rejection I’ve encountered in my experience as a privileged, educated, queer, white man in The United States. Is it any wonder that the Orlando shooter was motivated by a mix of self-hate, homophobia, and religious confusion? It isn’t to me for that is a world I’ve always known.

There are no safe spaces.


Messages of rejection, hate, anger, violence, cruelty, and religion are so deeply intertwined in culture and belief that simply choosing to be queer is a radical act.

Before we know we are queer, we are told that we are hated. Before we have sexual desires, we are taught they are wrong. Before we understand our own bodies we are limited to the gender binary.

There is a long and rich history of queer humanity — from Alexander, who briefly united to world; to Richard, Lionhearted, who inspired it; to Alan Turing, who, though he managed to save the world, was ultimately persecuted and destroyed for being queer.

I had to hunt for my heroes and role models because they were hidden from me. History books didn’t mention them, or worse, erased their queerness.

There are no safe spaces.

To change what is, we must be willing to change the way we are. That starts with what we say to children and how we act in front of them. If we want to stop young men from killing others we must embody compassion for all.

In the absence of compassion, hate is allowed to grow.

There are no safe spaces. So let’s make them.

K Ryan Henisey is a creative professional living in Los Angeles. His #ArtToEndViolence works have appeared in locations throughout Southern California, the titular pieces winning an Award of Excellence at the California State Fair, 2015.

Pulse is painted ink with minimal acrylic and sharpie on 140 lb paper, 42×42 inches.

Forty-nine monarch butterflies are shown emerged from a glowing heart. The artist narrative above is scrawled along a neon, Orlando skyline. The names of those killed during the massacre are written in red, blue, and black.

Pulse will be on display at Gallery 825 in West Hollywood as part of Los Angeles Art Association’s special Out There show celebrating the cities Pride festivities.



Gaze GawkThe series started as an exploration of the spirit. I was simultaneously taken by the adage “eyes as windows to the soul” and a desire to work with bodies and landscapes. As is typical, the art began to grow and develop on its own, expanding far beyond initial thoughts of exposing even just a portion of the human spirit.

As the first collection began to take shape, a distinct visual language began to form. The subjects, images of nude men taken from tumblrs, Reddits, and other gay pornography sharing sites, echo the objectification of human beings and the sexualization of anything labeled Queer. These found, hand and digitally rendered images are used throughout the collections. The eroticized gaze carries into the landscapes. Power lines, street lights, and wind generators echo the commodification of humanity yet simultaneously celebrate the beauty of energy and connection.

Views II American WebThe beautiful-ugly that characterizes Los Angeles is found throughout the collection, even when the themes drift farther afield than the local area. While Views II explores the nation – and to some extent the globe – it is still centrally a product of the City of Angels, which is home to multitudes but native to few.

Again in the second collection, male figures are central to the subject. They were cut from the pages of a 1963 Reader’s Digest world atlas, with a specific focus on the regions of the United States. Each is mounted on hand made, Nepalese papers. The bright paper and metallic prints make a striking foil to the muted and aged tones of the atlas pages.

Communion Duo WebThe third collection returns to paintings with acrylic ink and mounted, hand-printed and cut, sharpie narratives. The point/counterpoint juxtaposition, through both mirrored and complimentary pieces, creates a jumble of language and meaning while still exploring the exploitative effects of perception.

Language is a driving force of the collection, as it shapes our perception of reality. Word-use changes the context of each image, providing opportunities to gain insight from unique perspectives. Moving from predatory to innocent exchange, the text creates movement within each image, reconstructing meaning (as we each must do in our daily lives) from a deconstructed reality.

Views IV 4-5-6 Web

Views IV is an emotional and digital exploration of commodification using photography, digital collage, and color as modes of expression. The nine-piece set explores various world-‘views’ through figurative line-drawings. Unnatural color effects and iPhone pixelations remind viewers of our own natural ability to shape reality through perception.

The fourth collection is printed on metal in limited release.

Man Prints trio web

Views V is an atlas of narcissism comprised of digitally printed cut-outs of men from the site Guys With iPhones. Pattern and shape play foil to anonymity of the context, simultaneously concealing and revealing the hyper-sexualized affects of consumerism within a contemporary palette. The collection is meant to be shared on smartphones but is also available in individual or collected prints.

Say her name: November 20 is Transgender Day of Remembrance 

I wept the day I learned of Shade Schuler’s death. I’d never met her, hadn’t seen her picture until that morning, but I’d just finished the portraits of Lamia Beard, Ty Underwood, Jazmin Vash Payne, Taja de Jesus, Penny Proud, Bri Golec, Kristina Gomez Reinwald, London Chanel, Mercedes Williamson and India Clarke. The quick succession of portraits brought only sadness; death lingers heavily on the United States.

In just weeks, more names were added to the list of those destroyed: K.C. Haggard, Amber Monroe, Elisha Walker, Kandis Capri, Ashton O’Hara, Tamara Dominguez, Jasmine Collins, Keyshia Blige, Keisha Jenkins, and Zella Ziona.

Transgender women face a one in twelve chance of being murdered in the United States; Transgender women of color have a one in eight chance.

#SayHerName is a twenty-one piece set of 18 x 24 watercolor and ink portraits of Trans Women killed in the Untied States during 2015. Each piece is painted in reds and blues with negative white space as a dra- matic contrasting element. This red, white and blue color scheme reflects the citizenship of the women and the culture that produced their deaths. Paint is splattered across the pristine white of each page, representing the violence each woman faced. The backgrounds number their murders as reported (not the order that they occurred).

K. Ryan Henisey is a queer artist in Los Angeles. The art in his #ArtToEndViolence collection celebrates a passion for important and challenging social justice issues juxtaposed against a veneer of pop art. The superficiality of the genre draws attention to the violence perpetuated against communities marginalized by the dominant culture by forcing the viewer to confront what is meaningful.