My artistic practice exists at the intersection of movement, sound, and improvisation, where each gesture, note, and word forms a terrain where care, resistance, and futurity can be explored with slowness and intention. I approach my work as embodied research, where the body becomes both instrument and archive, echoing histories of Black queer desire that stretch across time, place, and memory.
 

Through voice, song, movement, and text, I explore relationality: with others, with the land, with time. I embrace improvisation as a practice of listening deeply to the present moment, allowing the future to unfurl. In this space, care becomes a revolutionary offering –care for the self, the community, the land we situate ourselves, for the ancestral and the emergent.
 

As I trace the intersections of Blackness and queerness, I engage in a practice of promiscuous futuring –imagining lives and worlds yet to be, one that resists the limitations imposed by historical erasure and invisibility. I seek to create restorative frameworks that move beyond the linearity of time, shaping spaces where collective action and radical care can emerge and flourish.
 

My projects range from experimental performance to archival design, all of which seek to generate tools for Black queer futurity that are both fantastical and functional, speculative and practical. These tools are not simply aesthetic, but serve as functional means to navigate and reshape the world –tools that promote visibility, care, and sustainability for Black and queer people. My practice, therefore, is not merely about performance but about the creation of new worlds where we are seen, heard, and understood in the full spectrum of our existence –past, present, and future.
This endeavor is one of continuous unfolding –an act of creating and re-creating, of listening, witnessing, and transforming together.