My practice engages in two modes, both of which examine structures of time, memory and the production of knowledge by engaging with archival materials, individual and collective narratives, and histories that span cultural and national borders.

In my photography and video installation work, I approach each project through a research process. Starting with historical events, I attempt to examine how knowledge around such events are understood through methods of translation, performance, and representation. My projects underscore the ideological underpinnings of historical narratives and raise questions about the elision and repression of the present moment in the service of the past. Often incorporating appropriated sound, image, and text, my work examines the precarious equilibrium between image and concept, word and meaning. I use archival material as a point of departure for exploring the politics of representation and the construction of difference and subjectivity in relation to history, time, and memory. Attempting to rupture the historical event, I am interested in making the archive – and our what we understand as past historical events – unstable, revealing it as an etiological myth unable to contain the possibilities that might appear.

In my collaborative work, I explore the role of pedagogy in the production of knowledge. My approach to collaboration engages participants in an experience that connects political concepts with personal experience, the possibility for difference and social change. Using performance and storytelling as tools to raise a series of questions, my collaborations engage in the possibilities of (future) lived realities by creating exercises in action.