a.k.a. Jizz Taco
info@michielterpelle.nl
@jtakajizztaco
Jizz Taco is a drag queen, artistic researcher, and typographer in residence at Jan van Eyck Academy with Bebe Books.
She uses drag as method, not subject—queerness as lived code, not case study. Publishing becomes ritual. Typography becomes spellwork. She prints what slips through. She archives what refuses. Her work is messy, performative, horny, and healing. It’s about memory, survival, and pleasure. It’s about making shit public before it disappears.
More Jizz Taco can be found here:
Creative Industries Fund NL’s Talent Platform
Wim Crouwel Instituut’s ‘It’s All Graphic’
Werkplaats Typografie (click if you like fonts)
The Patchwork Family’s ‘The Eternal Calendar’
Unnatural Acts (2025–now)
Unnatural Acts is an ongoing series of experiments where Jizz Taco explores AI through a queer lens—questioning, celebrating, and unsettling its role in art, authorship, identity, and power. What does it mean to create with a machine when your very way of being has already been called artificial? What happens when queerness, often seen as a deviation from the “natural,” meets a technology built to replicate and generate?
Further experiments will continue to tangle with memory, authorship, fantasy, and control. Let’s get a little unnatural.
Experiment 1 & 2:
Essay: LGBTQ+AI Realness
Experiment 3:
Book: Queer Memory Archive (tba)
The Typoscene™ (now–tba)
The Typoscene Archive is like a digital museum and typographic time capsule preserving the chaotic brilliance of early amateur font design, where creativity thrived before corporate consolidation.
It is whispered in certain circles, by those who trade in lost ligatures and forgotten glyphs, that the Typocene never truly ended, that its excesses persist in the hushed corners of the digital archive, beyond the reach of the Fontopoly’s catalogues. Others claim that it was never more than an illusion, a brief hallucination born of abundance, dissolving as the typographers awoke to the cold arithmetic of subscription models and licensing fees. Perhaps the Typocene is neither past nor present, but an endless recurrence, an anomaly inscribed in the fabric of design itself—an event that must always happen, must always be erased, and must always return in new forms. And if the free font was an aberration, a momentary glitch in the grand machinery of type, then who is to say that even now, in the regulated silence of the Fontopoly, some renegade letterforms are not waiting, latent in their obscure directories, for the precise moment to emerge again?
The Queer Agenda (2023–now)
Queer temporality is not linear;
it folds, loops, and decays
The Queer Agenda is a performative calendar that sells time as fantasy. Priced by the day, it transforms time into money, and money into meaning. Each page is an act—ads, essays, events, and images—all documenting drag as survival, pleasure, and resistance. Born from the C.A.R.E archive, it asks: what can drag do when it sells not the body, but the days?
Queer Movie List is an excel sheet with (over) 365 queer themed movies.
Deadname font
Deadname font
My pro-LGBTQ+ ex Zac is VJ-hunk (2020)
My pangrams repurpose a typographic exercise into a queer-coded archive—where cryptic slang, digital tools, and drag personas collide to expose the biases behind 'neutral' design.
Drag Q. J.T. f*ckz w/ BISEX luv nympho
