I take social positions as a transdisciplinary artist, an autonomous researcher, and an anonymous activist who persistently digs into the slippages between militarization, ecological disaster, and civic infrastructure.

My mother had a prophetic dream when I was in utero that her late Tungusic father reincarnated as her child. I embody this reincarnation as a mediatory position that is the unifying force underlies my practice which encompasses a range of research methodologies including critical archival studies, infrastructural critique, media archeology, fieldwork as deep dwelling; intersecting performance, video, text, installation, and sound. My approach to materials at the threshold of animacy is similar to how Tungusic shamans guide the soul into the land of the dead.

I respond to what is extant and facilitate an arrangement of the Material as Evidence.

My body becomes a bio-hackable interface through a performative process of reorientation, positing epistemic possibilities amidst the perpetration of extreme geopolitical violence.

Hallucinating from a heat stroke while documenting US Marine Corps base, bodies rubbing captured by an infrared camera at political actions, and allergic rashes flaring up while touching physical archives. These are the radically revolutionary moments of what Karen Barad would call “material-discursive” interactions that aim to decolonize an infrastructure of matanarrative.

My practice holds both a conceptual and site-specific guerrilla space that interrogates complicity. This space sits apart from existing legal systems which I see as symptoms of imperialism. Instead, the space holds a support structure to manifest the affective and infective intensity of violence in antagonistic social interactions.  

In interconnected structures, my work interrogates the technological, materialistic, and cultural components in society, gallery, institution that enables violence to flow through.

These interrogatory works have unvoiced demands that audiences have to make a choice regarding the material foundation of violence and their social responsibilities to act in/beyond the gallery.

My work does not pronounce knowledge and action, but rather it sets up a slight infrastructural shift suggesting urgent affective and semantic discourse to unfold.