Past Exhibitions
/ Anna Louise Marty /
May 30th, 2026
Solo pop-up exhibition.
Venue: Flohaus Gallery
209 W 38th St #500
New York, NY 10018
209 W 38th St #500
New York, NY 10018
Credits
Artist
Creative Director
Social Media Management
Margaux Marie
Event/Project Management
Curatorial Consulting
Graphic/Print Design
Vape Kid Jr
Editorial Model
Venue
Website: https://flohaus.nyc/
Zach
Editorial Photographer
Daniel-José
Event Photographer
Umbrella Term Hat Collection Modelled by Drag King Vape Kid Jr.
The phrase "umbrella term" describes how broad labels such as "queer" hold multitudes of more specific identities; this collection carries similar conceptual multitudes within its canopy, drawn from personal, shared, and inherited stories. The umbrella becomes a literal and metaphorical container: of traditional education, learned skills, generational knowledge, and the relationships that shape queer community.
Marty's practice operates in the space between art and design, a distinction she defines through use and intent. A piece alone is art and pieces made for a specific function is design. A piece that enters the context of drag performance becomes art again, not as an object in isolation but as a component of a larger artistic whole. This cyclical negotiation runs throughout the collection, which is built both for exhibition, for wear, for contemplation, and for the stage.
Family and heritage ground the collection in skill. Marty first learned to sew from her grandmother and later taught herself to quilt by studying the quilts of her great-grandmother, Glenna Plunk. The Heir-Loom hat directly engages this lineage, abstracting Glenna's original quilt and honoring the inheritance by drawing on the legacy of her great-grandmother's craft while carving out her own path.
Event photography by Daniel-José Cyan - Cyan Photography.
The collection also interacts with labor as an "umbrella term" in itself. The physical, repetitive making process is only one layer; beneath it lies the obscured, fetishized labor embedded in every purchased material and tool, a reality the artist cannot separate from her own hand. Even when a work is exhaustively hand-made, Anna Lou confronts the understanding. That tension, between the visible labor of the maker and the invisible labor of supply chains, is a quiet but persistent undercurrent in the work.
Queerness informs the collection not as a subject to be explained but as the community for whom the work is made. The pieces are intended for queer people to wear and enjoy, designed in part for drag performance, a space where the shared object becomes part of someone else's art. This is most visible in the P.O. Fans, which draw on the fan as a staple of queer nightlife, and in the No Budget hat, a direct response to drag tipping culture and the artist's own reflection on economic participation and uplift within her community.
Anna Lou’s Umbrella Term is an act of reflection rather than memory. The long, repetitive processes of sewing, carving, and assembling create space for the artist to connect and reconcile the many influences that have shaped her. Created at a pivotal moment, the end of her BFA, the collection is a deliberate reckoning with what it means to sustain herself through her work without reducing that work to design alone. These values, relationships, and questions gather under one canopy and are offered forward.