Harmattan

2025

Moving image and sound installation

Bus Projects, Melbourne

Harmattan takes its name from the seasonal wind that carries dust from the Sahara across West Africa, thickening the air and softening the horizon. Marking a period of dryness and endurance, this movement of dust also nourishes distant lands, tracing a quiet ecology of relation across continents.The exhibition unfolds through moving image, sound, and spatial installation. Les Sommes de Nous (2024) is presented as an intimate, headphone-based viewing experience, offering a meditation on collective identity, language, and intimacy. Surrounding this, a portrait soundscape translates analogue photographs into vibration, where tonal densities are rendered as subsonic frequencies and silence. Sand and woven travel bags shape an environment of stillness and drift. These everyday materials gesture toward gatherings, departures, and returns, holding the residue of care, resilience, and relation.

Although the Harmattan wind has never been recorded in so-called Australia, its dust travels across oceans to the Amazon, the Caribbean, and Europe. In these shared atmospheric movements, Harmattan becomes a space of relation, attentive to Indigenous custodianship and the living kinship between weather, land, and memory.

sof’ Portal

2025

Site-responsive 360° audiovisual installation

MAP MIMA, NSW

Sof’ Portal for a Listening Body is a site-responsive audiovisual installation that transforms the MAP mima Cube into a threshold shaped by sound, light, and stillness. Conceived as an opening rather than a destination, the work invites visitors into a slowed field of perception where colour hums, air thickens, and the space listens back. Designed with sensory care at its core, the installation unfolds through soft gradients of light and a sonic environment felt as vibration as much as sound. Visitors are invited to sit, drift, breathe, or speak into the space, allowing their bodies to listen in their own time. Drawing on elemental voices such as wind and water, the work treats sound as a living presence rather than representation.

Created in relation to unceded Indigenous lands and waterways, Sof’ Portal for a Listening Body understands air and vibration as carriers of memory and connection, offering a contemporary site for listening, release, and collective rest.

BLACK AND BLUR

2024

transdiciplinary archive (ONGOING)

PHOTO 2024, MELBOURNE

Black and Blur is a transdisciplinary, long-term project that builds a living, relational anarchive of Black queer memory, kinship, and cultural survival. Grounded in feminist epistemologies and practices of care, it values ambiguity, intimacy, and incompleteness, resisting singular narratives and centring gender non-conforming ways of being. The anarchive unfolds through analogue photography, moving image, sound, and oral histories, shaped over time by dialogue and reciprocity. Participants determine how they are present, including the possibility of remaining abstracted or absent, with agency, protection, and informed consent held central.

Developed through research across Australia, West Africa, and the UK, Black and Blur maps geography relationally rather than cartographically. It cultivates conditions where Black life is held expansively and futures can be imagined into being. Much of my broader practice is informed by and contributes to this ongoing anarchive, for which I hold custodianship alongside many co-authors.

BLACK people cant dance

2023

SINGLE CHANNEL PROJECTION

FIRST DRAFT, SYDNEY

BLACK PEOPLE CAN’T DANCE interrogates exclusion within spaces historically created by and for Black communities, asking what conditions are required for Black Queer people to feel safe, celebrated, and connected in the present. Rather than reaching toward distant utopias, the work focuses on the proximate future, attending to care, joy, and collective belonging as lived, immediate practices. Using dance as its central language, the work draws an ancestral line between Indigenous movement practices and the underground Ballroom scene, revealing shared values of community, care, and embodied knowledge. Dance becomes both archive and action, holding memory while generating connection in real time.

Commissioned by Black Diasporas, the work has been presented at MPavilion, No Vacancy Gallery, Testing Grounds, Jam Factory Cinema, and is held in the National Archives of Australia. Developed through broad community participation, the project reflects a collective process shaped by African diasporic contributors and received the Community Innovation Award from the Victorian Multicultural Commission.

I MYSELF ‘AM THE SUN

2023

SITE SPECIFIC SCREEN WORK

FEDERATION SQUARE, Melbourne

I myself ’am the sun is a site-specific projection that explores Black Queer autonomy through the body as a site of self-determination and reflection. Developed for large-scale public presentation, the work considers the relationship between physical presence and metaphysical significance, attending to personal agency within processes of healing and identity formation. Drawing its title from a phrase by Senegalese filmmaker Ousmane Sembène, the work uses cinema as a framework for thinking through Blackness, queerness, and visibility. Rather than centring spectacle, the film foregrounds small, embodied gestures, allowing ordinary moments to register as acts of quiet political and personal significance.

I myself ’am the sun has been presented in public space as part of the Gertrude Street Projection Festival, including screenings on Federation Square’s Big Screen and on a building façade along Gertrude Street, Fitzroy.

MORE LIKE A RIVER

2021

SINGLE CHANNEL projection

insitu light festival Melbourne

More Like A River reflects on the fragile and disorienting realities of personal transformation. Developed in 2020 amid the global reckoning following the Black Lives Matter movement, the film traces growth, grief, and self-redefinition as cyclical and entangled processes. Working through elemental imagery rather than narrative resolution, the film forms an impressionistic atmosphere in which motion and stillness coexist. The central figure looks toward the sky, gesturing toward speculative Black futures shaped in the wake of 2020, while dissolving landscapes subtly recall surrealist strategies of concealment and atmosphere, where presence is shaped through absence.

The film received the 2022 Wyndham Art Prize and has been presented at Museums Victoria, Insitu Dandenong Light Festival, and the Centre for Projection Art. A still from the film is held in the Villa Lena private collection, Tuscany.