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Jennie Andro

@jennieandro

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(No.2), HER acting artist
drag creature: @thebansheesworld
collective: @jennieandrocollective
📧: [email protected]

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This Saturday 27 June · Short Film Screening · 7PM (14.5mins)

The Jennie Andro Collective presents: Akulah Yang Sok Akrab
A film by: Jennie Andro (No.2), El/Pathu Sugunananthan (No.12)

A determined researcher finds a way to travel to The Door Garden, home of the banshee. Their goal is to be the first person to observe and record the banshee’s behaviour in its natural habitat. During their expedition, they come into close contact with the creature.

Why does it feel _____? The researcher asks.

Watch the short film this Saturday @ Abbotsford Convent, 7pmas part of ‘Somewhere, Elsewhere, Now, Here’ taken in Abbotsford Convent by @jennieandro

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a month ago

Artist lineup announcement! 📣 we are so excited to have these wonderful performers at our community mutual aid fundraiser! ✨ ticket link on final slide (you can screenshot the QR code and access the link from your photos app!) ✨ can’t wait to see you there! by @jennieandro

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2 months ago

Meow🐱 by @jennieandro

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3 months ago

Our IWD celebration is almost here and our live program is layered, intimate and powerful from start to finish.

Here’s what’s unfolding on 7 March at Love Language:

2–6PM
Alyss presents a live sitting performance in the spirit of Marina Abramović’s ‘The Artist Is Present’. A quiet, durational offering. The artist is here. With you. In stillness, in presence, in shared time.

4:30PM
Azayla shares Wildflowers, a poetic musing on trusting the cracks of light, even in darkness. Through the story of a single raindrop and tender imagery of seasons that seem barren yet are quietly unfolding, she invites us into remembrance: that even in fragmentation, we belong. A soft and powerful offering on resilience, return and the many divine languages of love.

5:30PM
Curator’s Speech

I’ll be sharing my story behind Love Language and why this theme matters so deeply to us — a collective thank you to the people who raised us, held us and shaped us

6PM
‘Door Garden’ by Jennie Andro (No.2)

An exploration of queer temporality, drag and identity. Door Garden translates directly from *taman lawang*, a Jakarta park known for hosting trans sex workers at night, a place Jennie was warned to avoid, yet one that mirrors the distance between Indonesian identity and queerness.

Si Banshee draws from Irish mythology and reclaims language used against Indonesian trans women. Refusing the demand to “pass,” the work asks us to witness a trans body moving through the world. Created alongside BIPOC collaborators, the performance invites audiences into queer time into a utopic world that holds beauty, grief and the lived realities of trans POC.

─── ♡ ⋆˚｡⋆ ♡ ───
📍 The Store @ Abbotsford Convent
1 St Heliers St, Abbotsford

🗓 Saturday 7 March | 2:00 – 8:00pm
Exhibition • Performances • DJs • Market
🎟 $25 incl fees taken in Abbotsford Convent by @jennieandro

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5 months ago

Introducing Si Banshee (it/its @thebansheesworld) to the world was an experience that I will never forget. I am deeply grateful to Sydney for including my work in a showcase of the subjectivities of queer bodies.

This project started off as an idea of bringing to imagination a literal Taman Lawang to Naarm. Door Garden; a direct translation of Taman Lawang, was initially an exploration of queer and architectural history, a pavilion made on Blender which would then turn into a live installation. At the time, I struggled identifying with the trans or genderqueer label and even the Jennie Andro name, but I wanted to create a striking yet reserved safe space for those who knew what the title meant.

I dont know what its like to be queer and live in Southeast Asia, I dont know what it means to learn how to exist in between the lines. My opportunity to experience, live, and celebrate queer joy in so-called “Australia” was how Si Banshee came knocking on my door (pun intended). Across Southeast Asia, a queer reality remains like an askew picture, an uneven horizon. Raids, blatant public framing, and moral policing are palpable risks that community, love, and visibility must acknowledge as living queer identities.

Our history proves that gender diversity and queerness has always been a part of our stages and rituals and we were once a sacred identity that allowed our communities to connect spiritually in various ways.

If Jennie came home to me, I came home to Si Banshee.

Come watch me perform to a track by (No.96) on @platofrmpresents IWD exhibition Love Language on Saturday March 7 @ 6pm !!

Lilith, to answer your question, yes I am !!

BNB performance pictures (raw) & video
@betnee_xx
@agender_ (No.12) - everyone say hi to the newest jennie andro
@withdotson

Burung Enggang outfit
@Shrieking_

Banshee concept art
Jennie Andro (No.2) - thats me !! by @jennieandro

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5 months ago

My affinity to performance gave me a reason to give up on visual arts, but artists like Gena Marvin completely restructured my view of visual art in performance. Gena was my introduction to creature drag, her makeup makes her look raw and spectral. I wanted to feel like her, I wanted to see a specter. Styx was no different, they transform into a fierce frost zombie when they take on the world!!

Transitioning is equally as terrifying as it is beautiful.

The day River asked me to remind them of my pronouns was the first time I admitted that I wanted to be referred to as she.

As they painted my face, they told me “now you know what my canvases feel like”.

I am used to seeing my body as a canvas, but I never considered what its like to turn into one and what if that transformation was slow? To be a canvas is to make something exist first and as Jennie, it meant exploring femininity.

The frost zombie made being a canvas feel so easy.

Blank Slate, 2025, mixed media by @jennieandro and @bluebitemark

Roses are pink, the fire of my heart is blue and my semen white.

My name is Jennie Andro (No.2), also known as the spectre, the identity alchemist, and the future face of GQ (genderqueer :D) !!

Jennie (No.2) is a multidisciplinary artist with published works in collage, installation, writing, and sketchbook. Based in Naarm, Their practice explores the reclamation of different identity markers set by society as she grapples with the utopic nature of a world accepting fatness and queerness into transformative art. by @jennieandro

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5 months ago

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6 months ago

We are so excited to show you what we have in store for bodies no bodies this Feb! Drag, installations, performance art, music, drinks. Returning for 3 nights only, don't miss out. Details in bio xx by @jennieandro

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7 months ago

bodies no bodies is back and it's bigger ✨
After a huge debut season at Melbourne Fringe (nominated for Best Work by an Emerging Artist) we can't wait to bring you to the gallery after hours again. SIX trans and gender diverse artists doing installation/performance work... don't miss it. Free entry for daytime exhibition, tickets required for performance nights (link in bio)

Starring...
@theartistknownasfoot
@bonk.jamesbonk
@jennieandro
@thethickyt / @tsekourasarts
@winter_greene
@imageofzero

At @smithandgertrudefitzroy 4-8 Feb 2026

Curated by @withdotson
Co-produced by @bonk.jamesbonk

This project is supported by the Midsumma Presents program @midsummafestival 🧡 by @jennieandro

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8 months ago

Sacrifice, 2025, mixed media sculpture

너무 쉬워 버렸잖아 너가 돌아설 땐
너무 쉬워 버렸잖아 너의 쉬운 선택

CW: trauma*, and my writing

*This is a dramatization of events so i hope its an okay read and not too trauma dumpy

Mama sheep was always away, so papa took the role of nurturer in our family. We loved mama so much and we would always look forward to her coming back home because her warm fuzzy coat felt like sunshine in our corner of the barn. We smelled like her, we would always coddle up to her when shes around and of course papa misses her too so he loved us being around him, if he couldnt smell her he would always yell MBEEEEEEEEEEE or use his hooves on us and we didnt know why.

When our human decided to give mama sheep to their friend’s farm we jumped on the truck with her not knowing or caring why she was going away.

When we arrived at their friends farm and they saw us with her, they didnt take us back. They told their friend that her children might have the same wool as the mom, we didnt know that mama was always away because they made little toy sheep with her wool.

When they came back, they put three of their best dolls in with our papa thinking it would help with the stress of his children disappearing without warning. But it didnt work, papa was stressed, his lambkin are gone but it didnt seem like it, our scent was always there.

Within a couple days our papa grew weak, the dolls kept on being stomped and he was yelling at them for hours on end. After a week our human found our papa dead, he tried to eat the dolls and choked on a needle that was left inside.

they took his limp body and butchered him, his offal and belly was cooked into the most fragrant dish in the world. They shared it with their friend; who is also their business partner, as a celebration of the beautiful toys they will sell and to remind them of where they came from.

Sacrifice is a sculpture depicting the dish that the shepherd made!! Nasi mandi kambing/lamb mandi rice yaaaay so good yumyumyum

I taste him whenever I eat nasi mandi. If I told you the undramatized story, do you think you could taste him too?

No. 2 by @jennieandro

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9 months ago

I only considered transformation as part of body horror after deep diving into my research on the representation of cannibalism in recent media, because whether it was Barbies, Power Rangers, a chicken, or a chair, we all wanted to transform, didn't we? Although cannibalism is popularly portrayed as a metaphor for love, it was hard for me to find popular romantic cliche phrases with a cannibalistic undertone (maybe i need to read more dark romance), on the other hand romantic cliche phrases denoting body horror is especially popular with questions like "would you still love me if i was a worm?" taking over the internet.

I never liked the question, and its responses always seem disingenuous because it’s always “what if one day I magically turned into a worm?”, but never “what if I slowly but surely will one day turn into a worm?”.

Understanding body horror as an integral part of the trans experience helped me alchemize this piece to life. Since I love portraying my gender through fashion, I was inspired by my canvas bag that has been with me from my wannabe eboy days to whatever faggotry I am up to now. Its been through a rough cycle of pins, from skulls and swords all the way to pride flags and pronouns. “Canvases” depicts my slow and grueling experience of transforming into a canvas, one that is no longer afraid of the holes they get from new pins.

I feel like Lady Cassandra. A specter.

Canvases.4, 2025, mixed media: Jennie Andro (no.2) x @bluebitemark (Jennie Andro no.7)

Canvases.2, 2025, mixed media: Jennie Andro (no.2) x subzi (Jennie Andro no.22) by @jennieandro

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a year ago

I recently discovered the racist roots of fatphobia in the West and fat activism while progressively working through my body dysmorphia. The misinformation and twisted narratives sculpted by the West around fat bodies fueled my second work, Flattened, as I attempt to imagine a world accepting of fat bodies through a series of collages.

As a child I was made to believe that my body was too heavy to move and this belief formed a utopia
- one untouched by gravity’s pull. I asked myself, if Isaac Newton had not “”invented”” gravity, would this world be one where fat dancers would move freely?

The apple - synonymous with Newton’s genius also echoes the phrase ”low-hanging fruit”, a term often
used to dismiss fat bodies - seeing them as easy targets or unworthy of deeper consideration. In Flattened, the apple is reclaimed to ask us to consider how fat bodies are seen simplified or dismissed.

Through this collection, I explore how fat bodies are often misinterpreted, reduced or erased. My work particularly highlights what is lost in translation when dominant narratives overwrite lived experience.

hehe thanks for the alley oop Jess 🫶🫶 @platform.presents taken in Abbotsford Convent by @jennieandro

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a year ago