Investigating my role as a producer, consumer and white settler amidst the global ecological crisis and Canada's long journey into truth and reconciliation, I draw from my deep connection to the land to draw out narratives embedded or attached to different materials.  In pointing to the liveliness of objects and their constituent parts, I work to shine a light on socio-political, economic and environmental entanglements of our daily existence so as to help disrupt beliefs, traditions and behaviours that bind one to anthropocentric perspectives, presentations and approaches to land.

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While meandering at the intersections of art, ecology, environmental ethics and new materialism, I deconstruct and reconfigure ready-mades and their constituent parts to visualize how the world is made up of highly interconnected and interdependent systems of physical and invisible matter that privileges or leads to the mattering of a few human bodies over the lives of others and the more-than-human ontologies that sustain us.

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Also intrigued with how one's waste or excess can become the raw, I uptake methods of unmaking as a creative act so as to acknowledge that all "art is land art" and develop a critical methodology that can make room for the resurgence of different voices, aesthetics, innovation, and livable worlds. To quote Jane Bennet in Vibrant Matter: A Political Ecology of Things:

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“A lot happens to the concept of agency once nonhuman things are figured less as social constructions and more as actors, and once humans themselves are assessed not as autonoms but as vital materialities.”