In a compelling new essay for PEOPLE, artist and drag performer Gabe Montesanti shares an introspective look into her creative journey and the upcoming release of her book, “Drag Thing: A Memoir of Mania and Mirrors.” Accompanied by original artwork, Montesanti reflects on how her distinct art style—a blend of raw emotion and unapologetic expression—has evolved through her personal experiences and identities.
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Montesanti’s artworks often challenge conventional standards, embodying what some might categorise as ‘outsider art’. With figures bearing multiple noses and lopsided torsos, her creations intentionally embrace imperfections. The artist explains that her art is not rooted in technical skill but instead emanates from her unique vision and perspective. “The power of my art doesn’t come from technical prowess but my supposed lack of expertise,” she states. Her willingness to display flaws reinforces a narrative of authenticity and personal ownership over her expression.
Growing up Catholic and queer in a working-class environment, Montesanti’s experiences with bipolar disorder, disability and a stint in a psychiatric ward heavily inform her work. While some artists may have pursued formal training, she took a different path by extracting inspiration from her life experiences. Although she attended college with a double major in mathematics and studio art, studying photography, her artistic journey remained unconventional. Recalling her time in a community watercolor class, she notes, “I warped the skills the teacher provided and pushed the boundaries the instant I got back to my workspace.”
The catalyst for Montesanti’s artistic surge emerged in 2022, coinciding with her entrance into the world of drag. Embracing her identity as a “drag thing”—a term she coined to describe her non-binary presence—she found herself increasingly drawn to expressing her memories in vibrant colours that echoed the chaos of her drag performances. “I wanted my memories of those years to be preserved in iridescent colours of all the clutter at the bottom of my drag bag,” she explains. This newfound fascination allowed her to articulate experiences such as the mania of preparation or the exhaustion following a lengthy performance session through vivid brush strokes.
Montesanti’s approach to drag is deeply intertwined with her artistic practice. Rather than striving for traditional notions of glamour, she aims to provoke and challenge perceptions. Her costumes, crafted from everyday materials, reflect a desire for audacity over conformity. “My goal was not glamour or beauty. I wanted to be audacious,” she states. While not all audiences or judges appreciated her unconventional style, support from a tight-knit community of fellow performers validated her vision.
The process of learning about drag also encompassed lessons in storytelling, another integral aspect of Montesanti’s work. She describes the triangular structure often applied to narratives, recalling how her mentors highlighted the importance of pacing and engagement in performance. The anticipation built during a show mirrors the careful construction of a well-crafted story—a lesson she deeply internalised. Her mentors’ guidance on rhythm and connection embodies the very principles she applies to both her writing and her artistic expression.
In her literary pursuits, Montesanti’s creative process has garnered a similar fluidity to her artistic endeavours. Traditionally meticulous in her approach to writing, she has since found liberation in expression, drawing parallels between the spontaneity of drag and the adaptability required in storytelling. “As hard as I tried, there was no way to plan or anticipate every move,” she remarks, underscoring the unpredictable nature of both her performances and her writing.
The interplay between writing and art continually shapes Montesanti’s work, as she often intertwines text with her visual creations. The two are inseparable; sketches inform her narrative choices and vice-versa. Her new memoir, “Drag Thing,” exemplifies this synergy, allowing readers to witness her journey through the intersecting realms of art and personal narrative. She shares, “In the creation of Drag Thing, I was often scribbling words on the backs and in the empty spaces of my watercolour sketches.”
The artistic journey of Gabe Montesanti serves as a testament to the importance of embracing individuality and celebrating every facet of one’s identity. Her memoir, set for release on April 21, encapsulates a vibrant exploration of creativity that challenges the boundaries of art and performance. As she notes, “There is no easy boundary between writing and art. The arts blend and blur; they inform each other in ways that are wild, queer, and forever mysterious.”
“Drag Thing: A Memoir of Mania and Mirrors” is now available for pre-order at major book retailers, inviting readers to engage with Montesanti’s unique narrative and artistic vision.