I hold a PhD in Humanities from Concordia University and work as an artist-researcher across experimental film, ceramics, archival research, and fieldwork. I follow rare and strategic minerals across geological formations, colonial histories, scientific infrastructures, and Indigenous territories—not to extract knowledge from them, but to think with them, and to allow them to reframe the questions I bring.

Research-creation is the methodological ground of this work. It refuses the separation between art and science, between sensory experience and theoretical inquiry, and between the archive and the field. I work slowly, through walking, touching, filming, and firing, because slowness is itself a way of resisting the logics of productivity and extraction that shape how materials are understood, classified, and used.

Across projects, my work moves through the extinction of endemic species, the disappearance of lakes, the devastation of agricultural landscapes, and the mineral economies underlying contemporary technology. In each case, material is not a subject to be represented but a participant in a shared world, carrying political, environmental, and emotional consequences across bodies, landscapes, and knowledge systems. My practice engages these conditions to open space for other ways of sensing, knowing, and imagining the future.

My projects have been supported by the Social Sciences and Humanities Research Council of Canada, the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and Idartes (Colombia). My work has been exhibited internationally and across Canada.