About

I am an artist and curator who investigates intersections between experimental music, contemporary art, anti-racism, and anti-colonial practice. I currently work as a freelance artist and as founding artistic director of Null Point—an artist-run initiative focused on intersections between music and contemporary art—and live in Tkaronto (known colonially as Toronto), on the occupied lands of the Dish With One Spoon Treaty.

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Artist Statement:

Through artworks such as installations, videos, and scores/instructions, I excavate how whiteness and coloniality/-ism are (re)fashioned through routine protocols and infrastructures. I investigate these issues through a focus on 1) racializing politics of sensation in concert music and 2) colonizing logics of territorial possession on occupied Turtle Island. Concretely, I annotate archives of whiteness and coloniality/-ism through techniques of appropriation art, intervention, and experimental music. In these investigations, I focus on realms of practice often taken to be removed from the workings of racial-colonial power, in order to map the myriad ways in which this regime of power is (re)produced, as a step towards its dismantling.

As a settler artist who is read as white, I adopt extensive protocols designed to mitigate risks of re-enacting racializing and colonizing relations: for instance, I limit the scope of my inquiries to white and/or colonizer-settler positionality. I also adopt concurrent protocols designed to disrupt learned whiteness and coloniality, for instance by engaging with how white and colonizer-settler positionality is studied by fields grounded in collective struggles of racialized and colonized people, such as Black, Indigenous, and decolonial study, and engaging with these fields specifically on the level of method. (I have written in more depth about positionality here.)

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More information about my background and collaborators is available here.