. Quite literally: through projection mapping, her recognisable practice of blending live performance with pre-recorded video, Velour sometimes serves as her own back-up dancer, her own magician’s assistant, her own creative collaborator, her own worst enemy. The season nine winner ofher one-queen stage show – comprised of 13 fully-realised lip-syncs, personal storytelling, and a bit of magic – to the UK this March.
Part of Velour’s broad artistic project is to explore this theme of abundance within the self, and to assert that it isn’t always easy, or important, to parse out what’s “true”. She dabbles in “pulling back the curtain” on the art of drag, and in winking at theatrical disaster – songs that restart, projections that glitch – all while maintaining control .
AF: It’s interesting that you say that, because for some people, drag can be very interested in like, sheen, flawlessness…AF: Yes. And that contrast, plus what I know of you, makes me curious about your own relationship to perfection.Trinity Taylor said that even though I don’t have a conventional sense of femininity for the pageant world, my sense of polish would fit right in there. And I think that’s important.
specifically. Everything that I learned about the culture and the art of drag came from bringing the most talented performers in Brooklyn – and now, an even wider pool – into this