My work lives at the intersection of creative activism and care. It is rooted in a belief that art can be a tool for social justice, one that invites people to touch, to gather, to remember, and to reckon. Through interactive installations and public-facing projects, I explore decolonization not as an abstract theory, but as a lived, material practice. I work through tactility, storytelling, and memory mining, allowing the body, hands, hair, fiber, soil, sand to hold knowledge that words alone cannot.
Recycling and repurposing are central to my practice. Nearly everything I use has already lived a life: clothing worn by friends and family, discarded marine debris, overlooked materials deemed broken or expendable. These materials are transformed into rope, vessels, and sculptural forms that merge the personal with the collective. In this process, I engage in shadow work, addressing what has been marginalized, silenced, or rendered invisible by colonial systems. Natural hairstyles like braids and locs, long questioned in white spaces for their “respectability” or professionalism, become both material and metaphor, sites of resistance, pride, and embodied history.
My work is also deeply eco-social. It exists at the intersection of gardening and art, land and labor, place and belonging. Whether through placemaking, public engagement, or community-centered rituals, I am interested in how we tend to what we inherit, culturally, environmentally, and spiritually. Like a garden, this work requires attention, patience, and care. It asks what can be composted, what can be repaired,
