My artistic practice spans installations, drawings, paintings, murals, textiles, videos, performances, cooking, and publications, serving as a platform to investigate historical narratives and political legacies of power and imagine possible futures where human and more-than-human coexist.
In the past years, I have been developing a speculative temporality of plant-human socioecological evolution, where the vegetal agency becomes a revolutionary protagonist that counters populist imaginations of technocracies and apocalypses by forging hybrid futures through interspecies mutation. I understand these projects as unfolding chapters of a novel imagined, constructed, and performed across a non-linear timeline through exhibitions and projects.
Concurrently, I have also found myself investigating and engaging with audiovisual archives of violence executed by positions of political and economic powers spanning geographies and time. I am working with them through methodologies of visual and auditory means that place me as a witness who will testify either now or in a moment yet to come. For this, I have been collaborating with activists, citizen journalists and independent journalists, often developing publications in the form of counter-narratives to power. 
At present, I am actively exploring how these two trajectories of my artistic enquiry might converge—cultivating a practice rooted in enveloping space making that interweaves speculative temporalities with strategies of unearthing state-performed violence.
I do not work alone. My practice unfolds through relationships—with friends and companions I have grown up with, shared meals with, studied art alongside, had disagreements with, and known through moments of joy and sadness. At times, I also work with strangers and institutions who, even briefly, come together through shared social and political values. In this way of working, resources circulate rather than accumulate, and authorship emerges as something held collectively, shaped by all who take part.