What does it mean to follow a ghost? And what if this came down to being followed by it, always, persecuted perhaps by the very chase we are leading? Here again what seems to be out in front, the future, comes back in advance from the past, from the back.

— Jacques Derrida, Specters of Marx

I make work in conversation with ghosts—erased histories, disavowed desires, repressed identities, places and people rendered absent by violence and by the stories power tells about itself. Because the ghosts of those who have been wronged always return to haunt the present, to demand justice.

My works seeks to make those demands for justice perceptible by creating embodied, time-based through which viewers can feel the presence of what has been rendered absent by history’s so-called victors.

My practice takes form across installation, performance, film, writing, music, and emerging technologies. I work with tools such as 3D scanning, augmented and virtual reality, and generative AI, treating them as historically situated materials rather than neutral instruments. Many of these technologies are developed within the orbit of the military, surveillance, and big tech—systems built to measure, extract, predict, and control. I’m interested in what happens when those tools are turned against the grain: repurposed to illuminate the structures that produced them, while making space for vulnerability, memory, and voices that are too often sidelined or erased.

In my work, technology is less a spectacle than a threshold—an interface where absence becomes legible. Scans, simulations, and algorithmic processes become ways of translating what’s difficult to hold directly: grief, complicity, displacement, intimacy, the residue of a place. I’m drawn to fragments and palimpsests, to the way a partial image or broken text can carry a whole field of missing language. Rather than offering explanations or solutions, I try to build conditions for a different kind of attention—one that listens for what’s been interrupted, obscured, or systematically silenced.

Collaboration is central to my practice—not only as a methodology, but as an ethos grounded in queer and trans traditions of solidarity and mutual aid. I think of collaboration as a commitment to relation and accountability, and as a way of resisting extractive habits of making. When my work engages voices beyond my own, my aim is not simply to “include” them, but to create structures in which those voices can be centered and carried with care.

To follow a ghost is to accept that you are already implicated. My work doesn’t try to resolve haunting; it asks what it might mean to respond—to stay with what remains unfinished, and to let the future arrive, as Derrida suggests, “from the past, from the back.”