As a queer artist, educationally rooted in political ecology, my work flows from the confluence of identity and earth. I feel drawn to places and people placed on the margins. I increasingly see my art as a means of creating ‘creative containers’ through which to share marginalized voices.
My practice is research-based, meaning it is not defined by a certain medium, but by questions. These questions fuel my process of interdisciplinary research—which entails embodied experience, academic research, and developing relationships (with both people and place). This slow process translates into poetic works, which often combine or include performance, video, sculpture, ephemeral gestures, analog media, or social practice. Writing is always part of my process, and so words—whether spoken or written—are integral components in the work.
With my work being interdisciplinary, I seek to share it in interdisciplinary places—beyond galleries or museums. I’m interested in places like academic conferences, film festivals, or even living rooms, where conversations between people and disciplines ensue, and where my work finds those outside the art field.
Conceptually, my work deals with large, complex concepts and structures. And the breadth of my research reflects that scale. Yet when I make work, I aim for poetics, which is—for me—an editing to essence. It is finding a simplicity that can hold complexity. So materially, my work brings these large concepts to the scale of the body, which I believe is the first scale of change. For I am interested in how the intimate and poetic might bring about internal change—which can then influence structural change.