THIS PRACTICE EMERGES FROM THE EXPERIENCE OF INHABITING MULTIPLE REGIONS SHAPED BY COLONIAL LEGACIES, ECONOMIC ASYMMETRIES, AND MIGRATORY FLOWS. RATHER THAN TREATING DISPLACEMENT AS A SUBJECT, THE WORK OPERATES FROM IT AS A STRUCTURAL CONDITION—ONE THAT INFORMS HOW IMAGES CIRCULATE, HOW BODIES ARE REGULATED, AND HOW POWER BECOMES PERCEPTIBLE IN EVERYDAY FORMS.

THE WORK UNFOLDS WITHIN THE FRICTION BETWEEN INTIMATE EXPERIENCE AND LARGE-SCALE POLITICAL SYSTEMS. INSTITUTIONAL VIOLENCE, BORDERS, ECONOMIC ABSTRACTION, AND MECHANISMS OF CONTROL ARE APPROACHED NOT AS DISTANT PHENOMENA, BUT AS FORCES THAT PERMEATE GESTURES, DOMESTIC OBJECTS, SOUND, AND MEMORY.

VIDEO, INSTALLATION, SCULPTURAL OBJECTS, DRAWING AND PERFORMATIVE SITUATIONS ARE ARTICULATED AS DISPOSITIFS RATHER THAN REPRESENTATIONS. IMAGES ARE FRAGMENTED, SOUNDS ARE DISPLACED, AND MATERIALS ARE ACTIVATED TO INTERRUPT LINEAR NARRATIVES AND EXPOSE THE INSTABILITY OF OFFICIAL HISTORIES.

MATERIALS FUNCTION AS SEMANTIC AGENTS RATHER THAN NEUTRAL SUPPORTS. LEAD, HUMAN HAIR, COINS, DOMESTIC ELEMENTS, MECHANICAL SYSTEMS, OR FOUND STRUCTURES CONDENSE HISTORIES OF EXTRACTION, INTIMACY, REGULATION, AND VIOLENCE.

WORKING WITH MOVING IMAGE AND SOUND ALLOWS TIME TO OPERATE AS BOTH NARRATIVE AND SENSORY MATTER. REPETITION, DELAY, SILENCE, AND BODILY PRESENCE BECOME STRATEGIES TO ADDRESS TRAUMA, MEMORY, AND THE CIRCULATION OF VIOLENCE.

DEVELOPED THROUGH LONG-TERM RESEARCH PROCESSES AND SITUATED PRODUCTIONS ACROSS DIFFERENT CONTEXTS, THE PRACTICE EVOLVES THROUGH ACCUMULATION, RETURN, AND RECONFIGURATION.

ACROSS ITS DIFFERENT FORMS, THE WORK INSISTS ON ART AS A SPACE OF TENSION—WHERE MEANING IS NOT RESOLVED, BUT CONTINUOUSLY NEGOTIATED.