⑇ Gren ⑇

Let’s first agree that Earth is a pluriverse. Our precarious small planet, our shared quantum nutrient, has many worlds nested within it: worlds which overlap, communicate, barricade, war, and copulate. We, the community of Grens, are cultivating our own small pocket world among the millions of parallel realities in Berlin. The Gren world creeps through urban parks and along the canals, grasping tightly to Earth’s manifold non-human worlds; put neatly, we’re all outdoor kids surviving city life. As artists and as queers, we can’t help but mythologize our place on this planet, peering behind speculative veils, crafting lore for recreation and for meaning-making. This is how we came to Gren: it was a word spotted in some bit of Genoan graffiti, and it stuck to us like a burr; it was the vocabulary seed that has grown into our sprawling garden of theory and practice.

Gren is a modus operandi; it is the behavioral vehicle with which we explore our world and others. Certain creatures can be appreciated as Gren archetypes or mascots – for example, imagine a seahorse with chinchilla fur – but Gren is a force that can possess any of us if we choose to let it in. Gren is also an aesthetic; something or someone who is Gren is organically textural, cutely feral, psychedelic and a strange jokester (Gren can be serious, but never self-serious). Gren is also cyborg, and weaves the alien and the robot into its Terran palette of thought. Gren is relational: a queer, poly-pan-amorous entanglement with all organic matter. It may or may not be asexual, and it is not necessarily innocent. Grens can be characterized as ecosensual, hilarious, evolutionary, procreational, anarchic. We embrace internal contradictions, complications, and discomforts. The process of Grenning is ‘bewildering’ and ‘be-wilding,’ as opposed to rewilding, because we Grens were never not wild. To Gren is to put on goggles that grant us access to a parallel reality in which all of these qualities are prefigured, lived out in daily life as we navigate the wider World(s)™.

The Gren MO, has been, in a practical sense, a multi-year uncultivated tapestry of community lore and practice. It began within chosen family relationships and our shared practices of Lebenskunst (the art of LIVING), and is continually unfolding into many manifestations that invite others into the world of Grens, through gatherings, writings, and sonic narratives. We are not a collective in the formal sense, but a cooperative in the informal sense; we simply operate together. Our co-created Gren world tethers to the Pluriverse with an open portal adorned with a WELCOME mat. The next portal will open on April 12th, 2024. 

 ⚘ Gren Kin ⚘


⌱ Gren Output ⌱ 


Naturopathic Somaesthetics is a world-based fashion practice. It manifests through a live workshop series that plays with the relationship between the incarnate self (the 1st body) and the earth (2nd body). Through fashioning foraged organic and geographic materials onto one’s own skin, a somatic dialogue is developed with local landscape through attention to texture, temperature, pressure, sound, and smell. Rooted in Jack Halberstam’s queer theory of bewilderment, Naturopathic Somaesthetics dissolved the narrative of separation between humans and the supra-human environment.

“I first put the stalks of aloe plant down my pants. When I walk, my body is imobilized at the hip. I feel the pressure of my waistband nicely tug on my back, pulled by the stiff rods. The pronged stalk top jab my shoulders pleasantly; if I shimmy, I feel it in my legs.”

“I lean into a tree. Its long soft leaves dance on my exposed skin. My weight supported by a constellation of contact points, the flexibility of the thin branches allows me to sway buoyantly; I learn the elasticity of its wood through my own springing movements. The sun warms my back, and I learn how it feels the sun at this time of day, too. There is no pain in this one, only pleasure and a soft rocking that soothes.”

“I wear aloe steaks like gloves. With my buck knife, I slice into the thick jelly. It is almost too erotic to be doing in public; fisting aloe. The sounds (like lasagna), the mucus that pulls away on my fingers, which are made pinker in contrast with the acidic bright green. When fully inserted, my hand is transformed into a ridged long point.”


Transcorporeal Portal is a multi-disciplinary work, initiated by Slowfoam, which activates the local community of grens. Congregating around Slowfoam’s sonic vision, a collaborative world-building unfolded, including contributions from Pablo Diserens, Diane Barbé, Lou Croff Blake, Ebb Bailey, Abby, and Tim & Lizzie (the label heads of Somewhere Press). Transcoreal Portal invites listeners into a psycho-delic paraworld that softly corrodes barriers between the self and the collective, the human and the non-human, the organic with the artificial, and so on. This anti-binary pocket world expands beyond the parameter of ‘album’ and includes multimedia contributions that include paintings, literature, sculpture, photography, and an IRL event that weaves the world-building into tangible space.


Songs for the Crossing is a spoken word performance series, initiated by Lou Croff Blake, that shares Gren and transgender campfire stories, including both original and selected works. The narrative is performed in dialogue with live sonic collage; past collaborators include Madelyn Byrd and Pablo Diserens.

"When I started microdosing testosterone ten months ago, I began to see an intangible terrain stretching before me, superimposed onto every moment of my daily routine. This alternate space, I learned, is the wilderness that lies beyond lawful genders.

My friend Pablo gave me a book recently, An Apartment on Uranus, by Paul B. Preciado, who writes on transgender experiences. In the introduction, Paul shares his ‘chronicles of the crossing,’ the retrospective of his time in gender liminality.

Tonight, we offer you not chronicles of the crossing, but rather ‘songs for the crossing,’ words to be shared around a campfire at night, in this forest between fixed bodily states. These tales and incantations bring comfort, entertainment, and contemplation while we trek the unknowable. The crossing has no destination. And the longer we’re out here, the more transient neighbors we meet.

This selection from my literary vault, both borrowed and original, is for all who know these liminalities, and for those who know you can’t unring a bell.”



BRICKS is not a brand, it is a studio. Lou Croff Blake (AKA Bricks) wields fashion practice as a trans homing ritual, linking the material world with the internal world. Garments are somatic containers, skins, and vessels, rich with the magic of animism, which empower us to shape shift while feeling our edges. Garments are also cultural scripts, semiotic conversations with ourselves and each other. In the weeds of gender transition, moving deeper into non-binary wilderness, Bricks hacks traditionally masculinized garments transforming them into an arena for argument, augmentation, and arrival. With tethers to academic studies in sustainability and design, Bricks welds their many-pronged practice together with science fiction, bog theory, pyrofeminism, xenofeminism, and gender alchemy. As an anarchitect of the world we call Gren, they maintain that having the right outfit for utopia is a flamboyant act of prefiguration.


The Gender Anarchy Workshops
are part of an ongoing public speaking and workshop series, initiated by Lou Croff Blake, which bring the central themes of Gren identity (biophilia, queerness, transformation, utopia, etc.) to wider audiences. Iterations of this public speaking have included:

⌁ ‘Fluidity and Dynamism:
Queer is a Catalyst (And So Can You!),’ a keynote delivered by Lou for Hochschule Macromedia in November 2023. Lou delivered a 20-minute call to action for ‘queer’ to be used as a verb, a pointy lynchpin for strategic systems change.

⌁ ‘Queer Needlework Circle’
was a workshop and community project initiated by Lou and Theodoor Adriaans at the De-Fashioning Education Conference in Berlin, German in September 2023. Participants learned the history of queer semiotic dress and communities of practice, and participated in a collaborative semiotic quilting project with skill-sharing and identity craft.

⌁ ‘Queering Fashion’
was an online workshop with Daisie.com led by Lou in March 2023, where participants learned about the intersections of fashion hacking and gender hacking. The 60 minute session included an anarcho-gendered avatar development game and design sprint.

⌁ ‘A Queer Fashion Rolodex’
was a presentation delivered by Lou in Arnhem, NE in July 2022 at the State of Fashion conference. It presented academic research and project development on queer communities of fashion practice, including the launch of the online queer fashion practitioner database and forum, The Rolodex of Radical Design.


Gravity Pleasure
is a curated event and mix series that invites artists to score thoughtfully selected satellite imagery of our beloved Earth. Donna Haraway stresses the importance of ‘making kin’ because ‘who and whatever we are, we need to make-with, become-with, compose-with the earth-bound.’ Similarly, Gravity Pleasure strives to shift Earth’s scale to create an introspective, deep-listening & viewing environment to form a kindred bond and world with Earth. Rather than depending on Earth as a mother, the project offers an eco-sensual approach; it creates a space for developing a connection with Earth as a lover who should be cared for and cherished through a mutually supportive relationship rooted in appreciation, affection, and sensual curiosity. The mesmerizing contours of hovering satellite footage unveil Earth’s curves similitude, forging a deepened connection between our corporeal selves and the enduring beauty of the planet we call home. Collaborators include Pablo Diserens, Lou Croff Blake, Magda Hartelova, Scott Carver, and more.


SQUID INC: 𓆢 Squid Inc Risotto 𓆢

2 cups arborio rice
1 small onion, chopped
3 cloves garlic, minced
1 bottle dry white wine
1 pint stock (chicken, fish, or vegetable)
1 zucchini, shredded
½ cup pine nuts, lightly toasted
¼ cup chopped fresh mint
½ cup grated parmesan
Salt & pepper
Olive oil

You will notice that this dish does not contain squid, or its ink. Squid Inc does eat meat and fish, in small and intentional quantities, but telling you how to cook and serve our mascot felt callous. Our respect for squids is bound to both feelings of awe and of kinship.

In the kitchen of a house on a coastline, we cook our favorite risotto, fresh and herbaceous with zucchini and mint. The rhythm of cooking risotto works as self-hypnosis. The churning spoon passed between us; the dowsing and ebbing of wine and hot stock, absorbed by the rising, swelling grains; the loud viscosity of melted cheese, glued to the silver walls of the pot. We’ve created a ritual of making this dish together, and on this night, after recording our mix for Secret Sauce, we prepare it for our friends. While clanging pot lits, chopping vegetables, and refilling our wine cups, we wonder about our kin who drift beneath the waves. We imagine a squid glinting in the dimming filtered light, her body a fleck of iridescence in the indigo abyss.

- Pour a generous coating of olive oil in the bottom of a large pot.
- Fry onions and garlic with salt and pepper. When brown, add rice.
- Cook rice in olive oil until it toasts to light brown.
- Add alternating pours of wine and stock, stirring continuously. Continue until the rice is soft, about 40 minutes.
- Add the shredded zucchini, continue to stir for 5 more minutes.
- Add shredded cheese, fresh mint, and pine nuts, and stir until incorporated.

Serve generously.

𓆢 Squid Inc 𓆢