Two Of Wands (Future) and its companion, Two Of Wands (Facing), are inspired by the Two of Wands Tarot card. Traditionally, the card depicts a figure gazing across a landscape, contemplating future choices and opportunities. It represents the act of surveying possibilities, weighing potential paths forward, and imagining what might come next. As a suit, Wands are associated with action and energy—qualities the artist intentionally emphasizes, underscoring the idea that planning for the future lays the groundwork for acting with intention.

Fake began working on these prints in the period leading up to the 2024 U.S. election, a moment that foreshadowed—and ultimately resulted in—the renewed embrace of transphobic rhetoric and policy by the Trump administration. Against this backdrop, the core meaning of the Two of Wands—that even within fraught circumstances there remains space to envision a way forward—came into sharper focus through the making of the work.

While the traditional Tarot card presents two wands as a single dyad, Fake chose to separate them into a pair of prints, assigning each a distinct orientation. Facing represents confrontation with history and the present: an examination of how the current moment has been shaped. Future looks toward what is needed and desired, and toward determining how to move in that direction.

In Two Of Wands (Facing), the wand is topped by a large box that serves as a vessel for history, incorporating candles as markers of memory and a keyhole suggesting doorways already chosen. In contrast, Two Of Wands (Future) embodies unformed potential; its wand carries fewer symbolic markers, remaining open and indeterminate.

Two Of Wands (Facing) and Two Of Wands (Future) were acquired by the Pierpont Morgan Library for its permanent collection in 2025.

About the Artist

Edie Fake is a painter and visual artist whose work examines trans identity and queer space through the lenses of architecture and ornamentation. Drawing from art history, speculative design, and narrative structures, his work explores how bodies and identities are shaped by built environments and visual systems.

Fake’s work has been exhibited nationally and internationally, including solo exhibitions at the Everson Museum of Art, Syracuse, New York; Broadway Gallery, New York; Rebecca Camacho Presents, San Francisco; and Western Exhibitions, Chicago. His graphic novel Gaylord Phoenix received the 2011 Ignatz Award for Outstanding Graphic Novel, and he was among the inaugural recipients of Printed Matter’s Awards for Artists.

Recent projects include commissioned mural installations for the Museum of Contemporary Art Chicago; The Drawing Center, New York; and the Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley, California.

Born: 1980, Evanston, Illinois
Education: BFA, Rhode Island School of Design, 2002; graduate studies, University of Southern California, 2015

Edie Fake works on his etching plate at Manneken Press, October 2024.

above: Edie Fake at Manneken Press, applying asphaltum to a copper etching plate.