Study, hosted
Study, hosted is an ongoing research-creation project exploring how knowledge about gendered violence is produced, circulated, contested, and transformed.
The project is particularly interested in the conditions through which lived experience becomes legible — to ourselves, to one another, and to institutions. It looks at testimony, online conversations, legal language, feminist practices of study, and other forms of situated knowledge as sites where meaning is negotiated and knowledge is collectively produced.
Through installation, moving image, performance, writing, and collective gatherings, Study, hosted approaches study not simply as the accumulation of knowledge, but as a creative and collective practice of inquiry. The project asks what happens when study becomes a way of gathering, listening, making connections, and producing knowledge together.
Study, hosted is currently in development.
Carceral Ecologies
Landscapes for Decolonizing Our RelationsCarceral Ecologies is an ongoing arch-project: an immersive, interdisciplinary body of research-creation slowly being assembled across different artistic experiments, media, sites, and forms of encounter.
The project brings together video performances, sound and scent, found objects, translations, writing, installation, and other fragmented or standalone works. Some pieces have been exhibited independently; others remain in development. Together, they form an evolving constellation toward a larger immersive installation.
Carceral Ecologies proposes ecology as a question of the conditions that allow humans and non-human beings to live and thrive. With care as one of its points of departure, the project asks how we might decolonize our relations with one another, with plants, animals, rocks, and the lands we inhabit.
At the heart of the project is an attempt to think together extractivity and carcerality as learned modes of belonging and relating — and to consider what it might mean to unlearn them.
Extractivity names colonial and extractive relations to land, plants, animals, and human and non-human life. Carcerality refers both to the ordinary structures through which contemporary life is organized — wage labour, patriarchy, normative relationships, naturalized hierarchies — and to their more literal manifestations: incarceration, forced displacement and migration, borders, and the policing of movement and belonging.
Rather than treating these structures as separate systems, Carceral Ecologies considers how they become entangled: how ways of controlling bodies, land, movement, resources, and relationships participate in larger ecologies of power.
The project was significantly developed through a two-month research-creation residency at the Santa Fe Art Institute, on Tewa-Pueblo territory, in May and June 2022, supported by the Canada Council for the Arts through its Arts Abroad: Residencies program.
The work remains deliberately in progress — fragmented, porous, and open to new forms, encounters, and relations.Carceral Ecologies
video-performance work
On Being a Guest (2022)
Video piece, White Sands, Mescaleros-Apache territory, New Mexico
Work selected at the 2022 Feminist Bienniale at Woman Made Gallery, Chicago (Sept.-Oct.)
Geologies of Desire (in progress)
two-channel video installation in progress, Ghost Ranch, New Mexico
Fences (video still, in progress)
White Sands, Mescaleros-Apache territory, New Mexico
Olfactive research-creation (on going)
invasive species, Quebec, summer 2021
failed enfleurage, flowers and leaves
I have been researching an invasive species called common tansy (tanacetum vulgare), it has historically been used for embalming by early settlers in the Americas (from the 1660s to the 19th century). While it is poisonous, its transporting scent and former purpose suddenly appeared fitting to accompany us in healing/grieving intergenerational trauma. Following the reflection brought about in the work of Kandis Williams, researching invasive species is also an occasion to question what is deemed propagable and desirable within our colonial economies.
I acknowledge and am grateful for the support of the Canada Council for the Arts, Arts Abroad, Residency program.
