This essay explores the connections between Derek Jarman's garden and his personal life, viewing the garden as a non-heteronormative subversive architecture. Through theories of property belonging and gender, the essay deconstructs norms and positions Jarman within Thatcherite Britain. The analysis shows how the AIDS epidemic reinforced heteronormativity, and Jarman's art became a form of resilience and subversion. The garden, unable to thrive in Dungeness, mirrored the marginalised non-heteronormative community, challenging norms and fostering a sense of belonging. Jarman's interventions in the landscape celebrated individuality and created alternative relationships. Sculptures made from found objects opposed conspicuous consumption and became a memorial for people with AIDS, turning the garden into a queer space of remembrance. The essay concludes that Jarman's garden has significance during the pandemic, urging us to reject exclusivity and embrace subversion to create an inclusive society.