As a multidisciplinary artist, my installations comprise videos, sculpture, cereal grass, and written elements. I aim to highlight and deconstruct the ‘human’/‘nature’ divide by dithering with the vegetal life that surrounds me as an urban-dweller. ‘Nature’ is not separate from the self, so my personal ruminations on what it means to be human, neuroqueer, or plant are central to my work.

I work in what I’ve named ‘vegetal time/space’: navigating time and space by resisting the linearity and hyper-(re)productivity instilled by late capitalism. Common western phrases reveal attitudes to time – making, killing, losing, having (time) – as those of control. Trees, however, expand with time by growing rings to mark the years. I surrender to the slower, symbiotic vegetal that becomes with time rather than possesses it, embracing my slow, unfocused, obsessive making process, and body of work that has expanded with time.

Pallets, to me, are a symbol of the escalating extraction of natural resources from across the world. Materials of production and dissemination around us preclude our awareness of more-than-human life-cycles; sapling, tree, snag, become wood, paper, product. I write on the pallets in charcoal to disrupt this. An object that typically disseminates products now disseminates words and moments spent writing. 

‘Stump map – or’ highlights the material’s roots and demands attention for the ignored vegetal. I spent months mapping, photographing, and ‘being with’ local tree stumps to create an interactive digital counter-map.

I also explore vegetal autonomy by growing cereal grass with no intention to harvest the grain, to be ‘useful’. I developed a personal relationship with it instead, reflected in my writing. A combination of rye and wheat (against monoculture) that grew stronger than rye on its own, is featured in ‘desir(y)e path’. Vegetal life resists. Dead tree stumps support insects and fungi as they decay; a refugia in the wasteland of pallets, concrete, and plastic.