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to sense the earth before the end of our world
a collection of works developed with ideas of relationality and sensing otherwise in mind...
view it in rooted futures' glitch 2025 cyberorganisms zine
the collage (2025) assembles “cyborg” sensory prostheses—solar listening devices, plant biofeedback interfaces, haptic webcams, wave-sound amplifiers, and speaking-to-the-land megaphones—that attune human sensibilities to more-than-human rhythms. It imagines how such technologies, born of DIY, artistic, and community practice, might resist extractive logics and reconnect us to the intelligence and sacredness of the living earth and its inhabitants.
the video (2025) presents a DIY electronics sensing device as a situated transitional aid for practicing attentiveness to relational entanglement during times of meta-crisis. Informed by local teachings on relationality and pedagogies of hospicing modernity, the work unfolds as a performance autoethnography across Tsí Tkaròn:to. The device translates conductive relations between bodies, materials, and infrastructures into sound, foregrounding forms of relation typically overlooked in everyday life. The work approaches interactive technology not as a solution to systemic collapse nor something to eliminate, but as a self-obviating practice that supports hospicing dying systems while attending to emergent ones. This work contributes to an orientation of psychogeography that centres embodied attentiveness to the whole (good and bad) of modernity as a necessary condition for re-learning how to listen to entangled worlds.
in the garden (2021) projected on a building outside of Saint-Laurent metro station in Tiohtià:ke (Montréal) as part of Quartier de Spectacle's "Hereafter." May 1-31, 2021.
I face the webcam both outwards and closer inwards, straying away from the normative display of the physical self on webcam. I specifically focus on the haptic nature of experience, and how that physicality is transforming while we increasingly live our day-to-day lives on screen. Importance is placed on the disconnection of our senses when on screen and attempts to express our longing for touch. I push physical experiences through the screen medium. I display a longing for a physical dimension of screen experience. I question our new reality, our new relationship to reality, our new screen sensibility. How does the webcam change our visions of the world and of ourselves? Sound plays a role in our experience of physicality. I draw from composer Miya Masaoka’s use of biofeedback to produce “plant sounds” in real-time on a modular synthesizer. I extend this exploration of nature versus machine with the function of using my 10-year old laptop and it’s built in microphone to pick up the sounds of my exploration into the garden. Nature is often regarded as a place of refuge from trauma. to see the earth before the end of the world explores our changing relationship to nature amidst climate and political catastrophe.
created with light-sensitive cyanotype paper exposed in a 4x5 view camera over six days, in parallel (2022) reflects an evolving image over time. The work speaks to worlds beyond what meets the eye—worlds filled with hauntings of the past and shadows of the future. It invites viewers to recognize that place is layered with multiple realities. How do we experience pasts, presents, and futures as interconnected threads in a shared fabric of life? How do we hold multiple truths and realities within a single moment, embracing coexisting ways of being?