“Ashley Chambers and Nora Hughes met for the first time on February 3, 2021 in Whatcom County, Washington. They went for an evening stroll through an industrial marina and discovered a large machine. This machine was illuminated so sublimely against the dark as if to beckon them upon it, and the two soon discovered that it would offer further instruction.”

Read more at Angel Tears.

“Chambers problematizes the social construction of God, gender, and narrative as the footage cuts at supersonic pace between her bedroom and a rock formation in Central Park. One by one, holes appear scattered across Sinai’s progressively singular landscape. These holes invite her in, but each time she attempts one of their invitations, she is expectorated again: a force within Sinai seizes her hair, hurls handfuls of dirt into her eyes.”

Read more at Blush Lit.

“Ashley Chambers paints her crockpot white in the name of God. She magically lights the stove with her divine PVC pipe, conjuring holy rocks above the flames and then, just as easily, dissolves them. She swaps out the Eucharist with brown rice, and culminates her sermon with a grand attempt to cram her own body down a garbage disposal.”