‘devilishly precise’
– Wendy Perron, Dance Magazine

‘revelatory and inspirational … Jenkinson is a must-see because of her technical excellence, ability to create beauty, and rare personable flair for drama.’
– Johnny Ray Huston, SF Bay Guardian

‘amazingly skillful performance’
– Leah Garchik, SF Chronicle

‘campy, intellectual juxtaposition of pop culture and high art’
– Evan James, San Francisco Magazine

‘Uncompromised vision, inner tension, and an adoring public: These are the ingredients of greatness.’
Hiya Swanhauser, SF Weekly

San Francisco Magazine: ‘True & Faux

Dance Anthropologist: Review of ‘Drag Movement Study’ in the Movement Research Festival, NYC

7×7 Magazine: ‘Hot 20 Under 40

Monique in Bust Magazine

Biography

Photo: Arturo Cosenza

Monique Jenkinson (Fauxnique) is a multi-genre performing artist and choreographer whose work uses drag to consider the performance of femininity as a powerful, vulnerable and subversive act. She and her drag queen alter ego Fauxnique have created and performed in such varied venues as the Stud Bar, City Hall, YBCA and de Young Museum in San Francisco; the New Museum, Judson Church and the Stonewall in New York; and in New Orleans, Seattle, Provincetown, Reykjavik, Amsterdam, Edinburgh, London, Rome, Catania and Zürich. Fauxnique’s acclaimed solo cabaret show The F Word will play NYC’s Joe’s Pub in January 2017 for the Feminist Press Feminist Ball and she will be a resident at Headlands Center for the Arts Summer 2017.

Fauxnique made herstory as the first cissexual female to win a major drag pageant. As a de Young Museum Irvine Fellow, she created a group piece inspired by the work of Jean Paul Gaultier, made space for teams of kids to dress drag queens and premiered her acclaimed solo Instrument. She participated in CHIME Across Borders with mentor Tere O’Connor and was an Associate Artist at Atlantic Center for the Arts with Master Artist Stephen Petronio. She received a Guardian Outstanding Local Discovery (GOLDIE) Award for Performance, SF Weekly’s ‘Best Performance Artist,’ and 7X7 Magazine’s ‘Hot 20’ and was an Isadora Duncan Dance Award nominee.

Jenkinson played Ismene/Eurydike in Anne Carson’s ANTIGONICK at Ashby Stage in Berkeley (2015), THE DIRT in Taylor Mac’s Lily’s Revenge at Magic Theatre in San Francisco (2011), and Edie Sedgwick in David J.’s Silver for Gold at the Met Theater in Los Angeles (2008). Her video ‘A Glamour’ appeared in visual art exhibitions Scores (Lawrimore Project, Seattle) and Presence (Torrance Art Museum),

She was co-director, with Kevin Clarke of the duo Hagen & Simone (2001-2007) and a past artist-in-residence at ODC Theater and CounterPULSE. She created curriculum and taught courses ‘Embodiment for Artists’ at San Francisco Art Institute’s New Genres Department (2013), and ‘Setting Up Camp: Queer Theory as Embodied Practice’ at St. Mary’s College of California (2015). Her writing has appeared in ‘The Society of Dance History Scholars Newsletter’ and the online literary magazine ‘Her Kind’ and she sat on the Artist Advisory Boards for Friday Nights at the de Young Museum and Counterpulse.

Artist Statement

Informed both by a tradition of radical queer performance and theory, and by classical ballet training, my work always comes from a physical place, and often uses drag to consider the performance of femininity as a forceful, vulnerable and subversive act. I create and perform from the fervent belief that embodiment does what cannot be said or theorized.

I emerged out of a feminist, postmodern, improvisational dance and choreographic lineage, but grew toward a tradition of radical queer performance that uses decadence and drag both to entertain and transcend. Yvonne Rainer said ‘no to spectacle’ so that I could say ‘yes’ to sequins. Rather than reject the traditional trappings of performance and the performance of femininity, I embrace them. My practice of feminism celebrates glamorous women as masters of artifice, and my intimacy with both the oppressive and empowering effects of feminine tropes allows me to create a zone of play from which I make my particular critique.

Since 2003 I have been deeply engaged in an ongoing performance project, Fauxnique, my drag queen persona. My short, sharp, entertaining drag numbers dovetail with theatrical works by showing the classical rigor and specificity of my movement exploration; transcending their pop form. As a lens through which I magnify my artistic concerns, Fauxnique typifies and expands a particular evolution of drag-based performance that goes beyond camp show-tunes into the realms of punk, horror, high drama and gender subversion.