My artwork involves encounter, exchange, and sensory inquiry. Examples of my previous projects include a walking performance about lithium mining, an overnight camp for broadcasting the dawn chorus of birds, and an experimental documentary featuring food heritage stories called Shoebox Lunch.

In my projects, the audience listens, walks, or even floats while engaging in a series of sensory experiences and group meditations. People are invited to slow down, reflect, and reconnect to the layers of human and other-than-human life in an urban landscape. My audiences learn about the indigenous history of the land, speculate about ecological futures, and construct their own spatial narrative based on a series of somatic and affective activities.

Drawing attention to ways that human culture and geography are entangled shifts the audience’s ability to notice, witness, and transform these intersections. In my recent Water Radio performances (funded by an Ellies Creator Award from Oolite Arts) participants are invited to play a water conductivity sound circuit, taste sea plants, make rubbings of mangrove bark, and feel the resistance of water on their skin.

I’m influenced by metaphysical practices of southwest Asia and north Africa where I have ancestral connection, as well as my study of animism which began while living and traveling in Japan from 1998-2000. Animism explores the relationships between humans and other beings, often through ritual practices. Acknowledging plants, animals, rocks, metals, and bodies of water as persons is the basis of many indigenous traditions and also informs a legal movement called the rights of nature which questions the popular belief that nature is a resource for humans to own, use, and abuse.