PRACTICE
I work with textile, performance, and installation as ways of thinking. I learned how to sew before I understood that it was also a form of knowledge. It comes from my grandmother, from a genealogy that is not written in books, but that sustains ways of making, caring, and resisting. From there, my work attempts to undo the histories we were taught to see as fixed. I’m not interested in representing history, but in intervening in it, cutting it, stitching it, reworking it through the body
Textile as Method
Textile is not a medium; it is a way of thinking. Sewing, embroidering, assembling fragments, these are also ways of producing knowledge. They hold together memory, domestic labor, and forms of resistance that have long been made invisible.
Body as Archive
The body is not a surface; it is an archive.
It carries traces of violence, but also continuity. Working with the body means activating those layers, making them visible, inhabiting them again.
Domestic Space as Political Site
The domestic is not private. It is a space where knowledge is transmitted, where life is sustained, where power operates—but also where forms of autonomy are built. Historiographic Interventions
I work with archives, but not to preserve them. I take them apart, books, images, colonial narratives, and reconfigure them. I am interested in how these histories were constructed, and how they can be rewritten from other positions.
Domestic Space as Political Site
The domestic is not private. It is a space where knowledge is transmitted, where life is sustained, where power operates—but also where forms of autonomy are built. Historiographic Interventions
I work with archives, but not to preserve them. I take them apart, books, images, colonial narratives, and reconfigure them. I am interested in how these histories were constructed, and how they can be rewritten from other positions.
Methodologies
Embroidery / Sewing as Knowledge Sewing is a way of thinking with the hands. By intervening in books, images, and textiles, I shift the hierarchies between art, craft, and knowledge. What is considered manual is not secondary—it is another way of producing meaning. Performance as Activation
Performance activates what objects alone cannot. It brings in the body, time, and the presence of others. The work moves from image to shared experience. Archival Intervention
I work with existing materials—books, documents, images. I cut them, rearrange them, and put them back into circulation. Not to restore the archive, but to expose its fractures and open up other readings.
Embroidery / Sewing as Knowledge Sewing is a way of thinking with the hands. By intervening in books, images, and textiles, I shift the hierarchies between art, craft, and knowledge. What is considered manual is not secondary—it is another way of producing meaning. Performance as Activation
Performance activates what objects alone cannot. It brings in the body, time, and the presence of others. The work moves from image to shared experience. Archival Intervention
I work with existing materials—books, documents, images. I cut them, rearrange them, and put them back into circulation. Not to restore the archive, but to expose its fractures and open up other readings.