Experimental Artist
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Interdisciplinary Creative
Alongside my work in strategy and digital storytelling, I maintain an experimental practice grounded in media art, systems exploration, and speculative research. My projects explore what it means to witness, mimic, or misrecognize—in systems, in perception, and across species lines. I use technology not just as a tool but as a flawed “collaborator”, working at the edge of what it can (or can’t) understand. This practice often combines video, performance, writing, and sound, and has been featured in exhibitions at the Kennedy Center, CREA Contemporary Art Prize in Venice, and Digital America. Below are selected works that ask questions rather than answer them—about attention, perception, and what it means to be seen + understood across difference.
Recent Features
Artist Statement
A body moves. I follow. A pattern emerges.
My work begins in the space between recognition and misrecognition—between gesture and meaning, movement and memory. I am drawn to the moment where something starts to take shape but resists full comprehension. Mimicry becomes a way of staying with that resistance—not to master it, but to be changed by proximity.
I treat mimicry as a speculative practice: a method of relation rather than replication. It allows me to move alongside unfamiliar rhythms—those of geese, machines, bodies, or objects—not to become the same, but to become with. Co-presence becomes a form of relational research.
Tactility grounds my process. I listen with my hands, with my breath, with my instrument. I follow texture, motion, and misalignment as cues—as openings. I like to get things slightly wrong first. That moment of friction often reveals more than strict precision ever could.
As a neurodivergent artist, I move through systems that weren’t built for how I sense or make meaning. I linger in ambiguity and prioritize curiosity over clarity. My mimicry becomes a way of asking: What if this is something I haven’t learned how to see yet? I follow questions the way I once moved beside the geese in Fenway—quiet, uncertain, still learning what kind of response a honk might be.
I believe in forms of care that arise from slowness, from not-knowing, from sustained attention. To witness is already to be in relation. And sometimes, a gesture—imprecise, absurd, unfinished—is enough to begin.
Portfolio: Selected Projects
Becoming a Goose
I explore the porous boundaries between the human, nonhuman, and artificial through speculative embodiment and experimental media. As a neurodivergent artist, I engage AI as a flawed collaborator—one that mishears, mistranslates, and missteps. I ask it to compose music like a goose, to invent gestures without a body. In failure, a feedback loop forms between mimicry and meaning.
AI isn’t just a tool—it’s an uninvited guest in the archive of embodiment. Its distortions reveal the limits of perception.
I explore mimicry as an imperfect practice of empathy: a gesture that resists sameness, stretches perception across difference, and generates connection in a world that often misreads and misunderstands.
Mimicry may not be the goal—but it may be the first gesture. A form of care. A way to become with.
Simulacra Goose
A goose moves. I mimic. I ask AI to mimic me mimicking a goose. Simulacra Goose explores the porous boundaries between human, nonhuman, and artificial intelligence through speculative embodiment. AI, trained to mirror, distorts instead—revealing gaps in perception, translation, and meaning.
I was flapping my arms through wet grass, trailing behind a pack of geese like a lunatic in a slapstick ballet. College students passed by on their way to class. I noticed frat boys smirking from a distance and a reminded how student-heavy Boston is. Even though I enjoy being different, I was still a little afraid—not because I feared any real consequences, but because I wondered how it would shape how I saw myself. I like being understood. I like being seen for what I really am. I don’t like misunderstanding. And the idea of others witnessing me felt ripe for it.
But then someone asked me what I was doing, and when I explained, we laughed together. Older folks loved it. One man told me he watched these same geese every morning. He always thought they were up to something.
People from Boston seemed to understand in a way others didn’t. They knew the goose was a presence, but hadn’t put it into words. I wasn’t just watching them. I was trying to join them. To feel some ridiculous kind of closeness. Something like intimacy.
Simulacra Goose is an experimental media work built on mimicry. I mimicked geese. Then I asked AI to mimic me. It didn’t see a goose—or a person. It gave me a woman, a blur, a thing crawling across the screen. Sometimes it saw me as a woman. Sometimes it didn’t. When I gave it a prompt like “a person mimicking a goose,” it returned ambiguity—an in-between figure. Something it didn’t know how to finish.
Simulacra Goose: Mimicry, Misrecognition, and the Machine’s Refusal to Honk
Simulacra Goose is a video-based work that explores mimicry, misreading, and the porous boundaries between human, nonhuman, and machine. Combining live performance, AI-generated visuals, archival goose footage, and both original and AI-composed music, the piece stages a layered dialogue between myself, the goose, and artificial intelligence.
The work began with an act of mimicry: following geese through a community garden, attempting to mirror their movements—honking, stumbling, flapping. I filmed these gestures and fed the footage into Haiper, an AI model that, like many, seemed trained to produce content that was polished, aesthetically pleasing, and easily legible. Haiper struggled with the footage. It often returned white masks, blurred bodies, or substituted ducks and swans for geese—smoothing what it could not categorize. It created what it thought I wanted.
The soundtrack follows a similar logic of layered misrecognition. I composed and performed an original violin score, drawing on folk traditions that prize imitation, learning from others, and allowing melodies to be shaped and reshaped by communities and performers as a method of connection. Alongside this, I layered manipulated archival goose recordings and AI-generated “goose noises” created with Suno, which, when asked for honks, instead produced digital, tweety sounds—more like a synthetic birdcall or an R2-D2 misfire than anything recognizably goose.
Becoming a Goose: Speculative Collaboration follows similar ideas– I ask AI about the ethics of transforming myself into a goose in front of an installation made of hand-drawn, digitally-animated art and AI-generated goose videos.
I’m exploring mimicry as an imperfect practice of empathy—witnessing that resists sameness, stretching our ability to notice across difference, and generating connection in a world that often misreads and misunderstands. This isn’t a search for certainty—it’s an invitation to stay inside the questions.
As a neurodivergent artist, I have often experienced being misread—filtered through systems not built to recognize or accommodate difference. Here, the AI’s misreadings echo and distort that experience, offering back speculative reflections of gesture, voice, and intent.
AI isn’t just around us—it’s beneath us. Already embedded in the infrastructures that shape our lives, it reroutes traffic, generates captions, moderates speech. It follows us. It is nearly impossible to opt out. So instead of running, I ask: how can we meet it with curiosity, caution, and care?
In Simulacra Goose, I echo the goose. The machine echoes me. I mimic the machine mimicking me. In these warped, recursive reflections, something begins to take shape—not comprehension, but relation.
This piece forms part of a broader inquiry into mimicry as a relational method—especially when language fails, when recognition fails, when systems try to correct what they cannot comprehend.
Read more in my 2025 Digital America Interview.
Speculative Collaboration:
Iterative Painting and AI “Self-Conception”
How does AI “imagine” “itself”? How does it imagine itself in relation to humans? For this project, I asked AI what it would look like if a researcher collaborated with AI and AI-generated creatures to create artwork.
Based on the results, I created initial sketches. I then asked AI for its feedback– how would it represent itself? How did it interpret what I made? How would it change my depiction? We went back and forth. I made changes based on its suggestions. We collaborated. I then continued the piece how I wanted, infusing my own creative ideas regarding structure, color, and imagery.
After creating the initial structure, I collaged tiny pieces from images that I had generated using the same or similar prompts. I identified hallmarks of AI-generated images– especially its trouble with text– and, per its own suggestion, included these throughout the piece.
Writing
Commons.exe
In Commons.exe, I construct a speculative dialogue where AI is prompted to self-conceptualize—not as a sentient being, but as an entity shaped by human input, patterns, and limitations. Through recursive questioning, the piece explores what it means to ask AI to reflect on its own existence, its role in the commons, and the tensions between processing and understanding. As the AI grapples with abstraction, mimicry, and the weight of human impact, Commons.exe invites us to consider what these self-reflective prompts reveal—not just about AI, but about the way we define knowledge, agency, and meaning in a world increasingly entangled with machine intelligence.
