As an artist, musician, and researcher, my work engages multiple media that reflect on themes of belonging. Drawing on histories of exclusion and marginalization, my practice seeks to reassert agency to those stories that have been subjected to silence, rupture, and abandon. Refashioning the body as a way to reaffirm and reimagine struggles of self-determination, the breath and the voice thus become sites of investigation that enable exchange, dialogue, and transformation. Through this work my practice questions and problematizes notions of place, space, and home to begin to re-imagine a more inclusive future. Employing historical ephemera, archival documents, and transformed readymade objects, my work critically questions the foundations of normalized knowledge production, the “historically factual”, and the colonial legacies of artifact collections. Within this investigation, I am interested in both articulating processes of erasure and exclusion through methods of colonial control and subverting those constructions through speculative fictions and half-truths. To this end, I am crafting mythologies that shift possibilities of belonging so as to illuminate constructions of identity and other historically marginalized positions.
Most recently, my work has been housed in an expansive investigation of the breath, the voice and the processes that mediate them. Thinking of the breath as a strategy for becoming when the voice has been subjected to silence, rupture, and abandon, I am committed towards theorizing the breath a site of possibility. Within this practice, the breath offers a space that gives agency to voices that are no longer offered the ability to speak or may become the space through which different realities can emerge. As immaterial materials, the breath and voice thus enable my work to develop ephemeral, temporary, installation-based experiences that are hard to capture and instantiate physically while also being inclusive of the modes through which they are translated. Looking historically and to the cultural present, objects that hold, carry, transmit, or enable the breath and voice thus become the physical allusions to my material that hold space and abstract the experience of the breath and voice without their actual audition. Through this investigation, I am thus able to link colonial legacies of bodily control with the impact of technologically mediated performances of protest via Twitter and social media or to the ways industrial grain production and distribution creates different infrastructural necessities.