I work at the intersection of (ritual) performance, ethnographic research, and multispecies ecology - across sound, installation, visual collage, poetic documentary, and live performance. The concept dictates the medium. I don’t begin with a form; I begin with a question, and let the question find its own body.

I am an artist of multiple shorelines. Born in South Africa, with roots from Réunion Island, raised on the Azores, migrated to the Dutch Caribbean, and with bloodlines to the Tigre Delta - a vast network of rivers and islands in Argentina - my body of work has always been a site of connection: of languages, ecosystems, cultures, and cosmologies. This transnational condition isn’t background to my work; it is the work. I trace the lines between places not to flatten them into a single narrative, but to follow the water: the way islands, however distant, share the sea - the act of making new bonds, new life, and new futures.

At the philosophical center of my current research is animism - not as metaphysical belief, but as epistemology: a way of knowing the world that refuses the categorical separation of the spiritual from the material, the human from the more-than-human, culture from nature. This is the lens I have developed through my own practice and through scholars including Hallowell, Kimmerer, and Zoe Todd - thinkers who have worked to articulate what many indigenous and land-based communities have never stopped practicing. It is also what the environmental crisis is demanding that we recover. Every major environmental movement that has succeeded in protecting land, water, and species has done so by first insisting that they are alive - that they matter not only as resources but as beings. Animism isn't the alternative to environmentalism. It is its most radical and most necessary form. You can't fight for what you don't believe is alive.

I flow through life as a student of this question. Japan, for example, holds one of the world's most living and sophisticated animist cosmologies - a tradition so deeply embedded in daily life, architecture, seasonal ritual, and language that it doesn't need the word animism to name itself. The concept of Yaoyorozu no Kami - eight million gods inhabiting rivers, mountains, rain, and stones - and Musubi, the connective force that binds water, time, people, and spirit into a single word, represent forms of relational knowledge that Western environmental thought is only now beginning to approximate.

My sound practice is rooted in sonic collage and deep listening - field recordings, oral histories, ancestral rhythms, and fragmented archives assembled into layered compositions that challenge dominant narratives and reclaim sonic space. This methodology extends into my visual work: collage, poetry, and installation as a politics of assembly, placing fragments in relation without erasing their origins. Whether building a sound installation, directing a poetic short documentary, or composing a participatory performance, the gesture is the same: gathering, layering, listening for what emerges between.

My long-term research project Body of Water departs from women's ritual performance as a form of ecological knowledge transmission. Women's songs, ritual practices, and daily gestures of care toward land, water, and children are living archives - they encode what a river needs, what a forest remembers, what a community owes to the beings it lives among. Drawing on decolonial feminist methodologies and (auto)ethnography, I explore how women's bodies hold and transmit this knowledge across species and generations - and what is lost when that transmission is broken. The project asks: what do we call to when we call to water?

Alongside this, my project All My Islands Are Connected By Sea extends the research toward archipelagic thinking: a non-linear, rhizomatic model of relation that refuses to organize the world into centers and peripheries. Each site enters the collection as its own node - independent, irreducible, resistant to easy synthesis. Water, in this frame, is not metaphor but method.

I also work as a music educator and Culture Coach, holding a Postgraduate Degree in Intercultural Music Education. For years I have taught songs from across the world - in Papiamento, Portuguese, Zulu, Dutch, Spanish, Arabic - to children in primary schools, without requiring a shared spoken language. Music isn’t a subject but a technology of relation: a way of crossing difference that leaves both parties changed and enriched. Song is how communities encode their relationships with the living world and pass them forward across time. This work isn’t separate from my artistic research. It is its deepest laboratory.