At its core – my installation practice is as concerned with traditional sculptural questions such as the coherence of materiality and the arrangement of objects in space, as it is with the viewers’ embodied experience as they engage with the artwork. I am interested in creating environments that function metaphorically, in discovering new ways of addressing embodiment, and thinking about how the body can have meaningful and symbolic interactions with technological environments or systems. I use materiality and the physicality of the installation as a metaphor and create sensory rich environments that allow for meaning to emerge through experience and exploration.

Beyond my studio practice I also curate exhibitions. My curatorial interests lie in showing works at the intersection of art, science and technology that critically engage with the techno-social-ecological configurations that make up the world – including the human (systems and artifacts) and more-than-human (naturalized and technological). I am equally interested in interdisciplinary collaboration as impetus for critical creation, as I am in the aesthetics of interaction between the art object and the participant/viewer. I seek out work that critically and sometimes playfully examines social, political, philosophic and personal experiences, to explore and unpack important questions about the role technology plays as it shapes the quality of our lives. I do not expressly situate technology as oppositional to the body and nature, nor do idealize it. I am more interested in the ethical dimensions of technology and the critical and creative methods that artist use to engage with and reconfigured how technologies can be used to support more ethical futures.

My current work is concerned with human/nature relations and challenges human exceptionalism, which places the human at the centre of the world. Using technoscientific tools I translate the complexity and vibrancy of the natural world to highlight more-than-human forms of communication, interactions and stories. I seek to create sensorial rich environments that offer insight into non-human complexity and invite the viewer to consider how we are situated within a larger more complex ecosystem, where we are only part. Human ontologies and stories are not the only way to understand and thus structure the living world and my current work seeks to destabilize the mental habit of privileging human experience over everything else, and makes space for the storytelling of microbes, protozoa, mycelia, bees, and plants – stories that are not necessarily about the world we humans are building. The humbling act of recognizing that we are not the only ones, not at the centre and not even the subject of others’ conversations can support our rethinking of our “truths” about ourselves, our place in the world, and the nature of our relationship to multiplicity and difference. This research encompasses both my artistic and curatorial practice and is an ongoing exploration that contributes to discussions about the philosophical and perceptual shifts that need to occur as we deal with the realities of environmental change.