Harnessing the emotionally genuine paradigm of GLBTQ activist art, Fiery Skies seeks to interrupt the mindset of viewers, as it forces them into an experimental sonic and visual world. Devoted to the lives of those who have perished, and those who continue to survive living with HIV/AIDS, Fiery Skies channels the unifying spirit of the GLBTQ activist movement. Centered on a laser cut and etched black-acrylic cube, the essence of Fiery Skies touches upon the juxtaposition of being socially marginalized by society, while breaking out of same social shackles.

A projection of David Wojnarowicz’s Fire in My Belly radiates from the fiery cube; symbolic of the insatiable burning that erupts from the “belly”. The cube itself is etched and adorned with ornate patterns resonant of the differences and diversity amongst GLBTQ citizens. The fiery cube remains a cube; like the conservative argument that GLBTQ citizens do not deserve support, liberties and rights but sugarcoat arguments with niceties about how no harm is meant to those who identify as GLBTQ.

Included in the installation of Fiery Skies’ interactive soundscape developed in Max 6.1. Using the PlayStation Kinect motion sensing infrared (IR) technology, this soundscape was designed to generate an interactive and immersive experience for audiences. The IR technology allowed for audience presence and motion to affect the playback and intertwining of Galas’s audio portion of A Fire In My Belly, numbing high-pitch feedback, and Pastor Phil Snider’s anti gay rights speech before the Missouri state house of representatives. Snider’s anti gay rights speech was used juxtaposed against the visual projection of Wojnarowicz’s A Fire in My Belly, to accentuate the turbulent experiences forced upon GLBTQ individuals by ignorant conservative (and often religious) constraints.