Writing

My formal artistic training is in Creative Writing. To that end, I have an MFA from the University of British Columbia where I focused the majority of my efforts toward writing modalities I ended up calling "Speculative Non-Fiction" and "Automythography" in my thesis titled For my part, I know of no river called ocean: A queer memoir on motherhood and mythology.

I'm published in a few places -- most recently in Stillhouse Press's In Between Spaces and have work forthcoming in an anthology presently titled TAKLIF-DHIBAATO: LGBTQ+ Muslim expressions of madness, love, resistance, & care. I have a fairly lengthy history of facilitating creative writing opportunities for groups and collectives. Creative writing is a core part of my methodological engagement in the world, and writing practices are at the heart of my pedagogical engagements with learners of all ages and disciplines.

Book-length work is slow business for me, but I do plug away at it. I am currently working on a spec fic automythography titled The Waterbearer as well as a novel titled The Receiver.

Visual Arts

My visual art history is primarily in installation pieces made, shown, and performed as I came to some sense-making of political enmeshments and economies of power. Historically, I have worked in mixed media with a particular emphasis on fibre arts and interactive, immersive performance pieces.

Beginning in 2022, I have undertaken training and regular practice in printmaking modalities, and, as seems to be a shared story among many printmakers, find myself in several sorts of home in print media.

I am currently one half of the Access Ink Art Collective and we are working toward creating pieces grounded in our values of belonging, of sustainability, of interbeing, and are focused on using materials that are found, considered invasive or undesirable, and/or destined for the landfill.

Choreography

In 2018 I participated in the Emerging Choreographer's Program with the Collaborative Radically Integrated Performers Society in Edmonton (CRIPSiE) when I choreographed and danced in You I Wash Dry as part of CRIPSiE's production Mobilize!. It was this experience that brought me to a lived understanding of the body as a site of generation and intervention -- not in order to discipline nor 'fix' nor 'cure' bodies toward a singular normativized aspiration, but as a place of possibility.

My artistic practice today is the place in which I feel most grounded and most vitalized. These areas of artistic practice as they move through my body and being are in constant conversation with my research practice and also exist outside and beyond the scope of my scholarly work.