Drag was the beginning of my art practice and remains a vital medium through which I tell stories. Performing as my drag persona, Naza Løtus (since 2019), I use drag not only as a tool of gender expression but as a method of cultural storytelling, ritual enactment, and myth-making. Rooted in queer diasporic experience, my drag embodies transformation — of identity, of memory, and of inherited belief.

As performance theorist Kareem Khubchandani writes:

“Gender is not the only or primary identity or politic being staged; race, nation, language, religion are all salient parts of drag… as are the multitude of visual, literary, and media references cited by performers in their music, dress, movement, and make-up.”
— Decolonize Drag

This quote echoes my approach: drag, for me, is not limited to gender. It engages the entangled politics of migration, race, and belonging. Since moving to the Netherlands in 2014, my experiences as a queer migrant from Taiwan have deeply shaped how I craft visual metaphors, build performance rituals, and construct fictional identities that sit between tradition and speculative truth.

What began as a club performance practice has evolved into a visual art language — one in which drag’s tools of transformation, ritual, and storytelling now extend into sculpture, installation, , moving image and sound

Each drag performance becomes a space of embodied folklore — where speculative futures, myth, and memory unfold through ritual, costume, and storytelling.

Drag is not separate from my art. It is the root system beneath it: a living, decolonial language of transformation.