My practice is driven by a desire for bodily autonomy, growth, and not-yet-imagined becomings. My projects are long-term conjurations that merge intimate collaborations, fieldwork, material experimentation and speculative methodologies to create a space of ever-mutable form anchored within a queer and trans ecology framework. I work across installation, photography, design and performance, imagining proto-habitats that create a sense of collectiveness, belonging, rest and care. My approach relies on collaboration and shared experiences to build frameworks that are politically rooted yet open to x-topian explorations.
I see the exhibition space as proto- habitats. In my projects such as An imaginary garden with real toads in them, the garden a transecological habitat that re-envisions transness and dysphoria through the lens of interspecies relationships. Space Sporification is a futuristic spaceship café combining queer oral history interviews with animations that react to the audience’s collective heartbeat. Transitional object, the room becomes a new-refuge of selfhood and trauma healing.
Across these works, I treat space as a becoming condition, something that co-evolves with bodies, materials, and narratives. A space in between, a place of fragility and constant negotiation, seeking independence from binary relation.
I am interested to think about the exhibition space as "khôra". Khôra is a philosophical notion of a pre-form space. It holds an important connection to transecology as a receptacle where things come into being before being named. It is the ooze, the primordial ocean mud floor. Within this space I want to think of alternative materiality as a mode of emergence, seeking definition of what “a trans- or fem- architecture" might be. I work with substances that mimic biological processes; waxes, mud and clay slurries, plant resins, bodily by-products such as urea, blood or sweat, and hybrid bio-composites inspired by recent research into protein based binders.
I consider the exhibition space as a site of radical hospitality, an architecture that leaks, metabolises and transforms through collective labour. Its instability becomes a way to think of identity not as essence but as motion: something held, dissolved, absorbed, shared.
I see the exhibition space as proto- habitats. In my projects such as An imaginary garden with real toads in them, the garden a transecological habitat that re-envisions transness and dysphoria through the lens of interspecies relationships. Space Sporification is a futuristic spaceship café combining queer oral history interviews with animations that react to the audience’s collective heartbeat. Transitional object, the room becomes a new-refuge of selfhood and trauma healing.
Across these works, I treat space as a becoming condition, something that co-evolves with bodies, materials, and narratives. A space in between, a place of fragility and constant negotiation, seeking independence from binary relation.
I am interested to think about the exhibition space as "khôra". Khôra is a philosophical notion of a pre-form space. It holds an important connection to transecology as a receptacle where things come into being before being named. It is the ooze, the primordial ocean mud floor. Within this space I want to think of alternative materiality as a mode of emergence, seeking definition of what “a trans- or fem- architecture" might be. I work with substances that mimic biological processes; waxes, mud and clay slurries, plant resins, bodily by-products such as urea, blood or sweat, and hybrid bio-composites inspired by recent research into protein based binders.
I consider the exhibition space as a site of radical hospitality, an architecture that leaks, metabolises and transforms through collective labour. Its instability becomes a way to think of identity not as essence but as motion: something held, dissolved, absorbed, shared.