As I get older, I have witnessed and realized the drastic effects of colonization of the Philippines on my culture, identity, and family. Prior to colonization in the Philippines, it was a polytheistic nation, and multiple myths and deities existed in different regions. The concept of Transgenderism was apart of this mythology, seen in Lakapati, the goddess of fertility and good harvest. She was described as an androgynous, intersex, or transgender goddess. Beyond this, before and after colonization, we saw Spanish accounts of Trans Filipino women living among society. The Tansug people believed there was a third gender that were essentially women who were men; they were referred to as Bakla. These trans-women could live society as women, wearing feminine clothing, marrying men, and taking up duties and social status of women. While they couldn’t have children, they were seen as more spiritual and a vital part of their communities. Yet, to the Colonial Spanish, they were a threat. Thus, in the 1500s when Catholicism was introduced, it ended Traditional Filipino mythology and the rights of transgender women in the country. The religious take over of Roman Catholicism changed the way we viewed each other, and restrains the queer identities of many individuals like myself. While the Philippines is one of the most LGBTQ+ friendly countries, we can see that we are only tolerated by society rather than accepted. I have seen this within my own family, and my coming out as trans, through denial. So, I turned postcolonial Crelloa (a large round earring Filipino women wore in the 1800s) filigree earrings into an adaptation of queerness, focusing on genital iconography within the delicate twists, frames, and granulation of these hoops.