deixem passar (it favors the house) (2026-ongoing)

‘deixem passar (it favors the house)’ (8 mins, 2026-ongoing) is a video essay that hones in on diasporic identities, neoliberalism, and migration. The work employs video montage as both method and language to navigate the artist’s and her father’s relationship to money, economic pressure, and the wider, often invisible structures of foreignness as shaped by late capitalism. Framed by the experience of grief, specifically the loss of a father, the work explores the pressures of gendered expectation and operating within spaces defined by professional success and material possession.

Tracing a trajectory from the early colonial sugarcane plantation experiments in Madeira, Portugal, to the diasporic landscapes of fruit and vegetable shops and liquor stores, in an apartheid and post-apartheid South Africa—the new promised land of milk and honey—the film interrogates the intergenerational weight of integration and obligation.

'Para-Narratives: Fragmentary Storytelling' with artist Thérèse Anna Rafter (2026)

‘Para-Narratives: Fragmentary Storytelling’ (2026) was a workshop developed and presented alongside artist Thérèse Anna Rafter for Galerie TIC, Brno, as part of their Cinema of Resistance program. We introduced and explained the processes behind our works ‘Cure’ (a text and image-based installation, 2026) and ‘TAR’ (a video essay, 2024-ongoing) through Daniel Blanga Gubbay’s paratheory as a methodology for a new approach to the archive, one that allows for poetic speculation and a break from institutional constraints.

Moving between personal memory, fragmentary research, and decolonial inquiry, the workshop approaches storytelling as a space of archaeological uncovering, a space that embraces disorder, intuition, and the interweaving of histories, materials, and lived experience. Participants worked across collage, scriptwriting, editing, text, and digital experimentation.

Tar (2025)

The video essay ‘TAR’ (28 mins, 2024-ongoing) focuses on South Africa’s roads and the ever-growing pothole crisis, utilising them as a tangible reflection of the country’s socio-political history. These asphalt veins that connect cities, communities, and commerce are generally regarded as a benchmark of judging efficient governance. Commented on as a critique against the current political party, this sentiment disregards how this foundation is a product of urban planning strategies from the past, rooted within Apartheid. 

‘TAR’ seeks to understand the relation of potholes to previous colonial systems that brought them into being and how this is experienced by community members. The umbilical of capitalism, and the history of South Africa, are rife with exploitation and extractivism. Cities are constructed and roads are built first and foremost to pander to the wealth of a minuscule minority, not to serve the majority.

capitalize this spirit (2025)

‘capitalize this spirit’ peeks:peaks into the ambiguous merging of neoliberalism and esotericism.
No territory is left unchartered.
A session with an abundance psychic, after a spell of continuous financial misfortune, sets the soundscape.
The last frontier of a god- free spirituality, void of religious attachment, appears more palatable.
The session {somehow} siphons off into ‘curated’/ ‘tailored’ algorithms, streams of soothing voices coupled with meditative music promise flows of cash.
What are gods without icons / totems / statues?
‘Here are your seven lucky numbers, Scorpio’, ceramic pinchers and stingers of glazed festering chaos, astrological promise of belonging turns infectious: self- defeating.

Included in Glosopeda's group exhibition contribution to 'The Wrong Biennale'.

i count the knots of resistance (2026)

Sick Girl* Strategies is an interdisciplinary project, performative archive, DIY publication, and online toolkit for sick languages, bodies, and tactics. It gathers terms, gestures, symptoms, medical fragments, diaries, autotheories, scores, images, and survival strategies, and reworks them through text, visual material, actions, publishing, and necessary exchange within sick and chronically ill communities.

Textual contribution, 'i count the knots of resistance', to Sick Girl Strategies, curated by Nadja Kracunovic.

Character Coding (2023)

Awarded the Re:Touch Photography Prize (Kulturprojekteberlin with metaLabHarvard), “Character Coding” deals with female stereotypes, toxic masculinity, and the harassment of individuals perceived as female in online spaces. The work therefore also questions so-called internet phenomena such as hate speech and comments, as well as the current state of net feminism and the male gaze in general.

oooof _____ aged badly (2024)

‘oooof_____aged badly’ (7 mins, 2024) is a reflection on the current phenomenon of social media-ted, skincare-brand weaponised ageism in the form of a film. Narrated by a variety of voices representing individual social-media users, a comment thread from one niche celebrity gossip account (specialising in how different celebrity women have aged) is performed. Skincare influencers, miraculous serums, anti-aging masks and filtered promises of perfect youthful skin frame the visual backdrop to this online argument.

Navigating Instagram and TikTok as a user whose dataset pertains to the algorithmic bias - female, in her 30s - involves witnessing reels upon reels of beauty expectations coupled with product placement. The message is clear—to allow your skin to age as a woman is sacrilegious. The textual clash between these users, which took place over a four-day period, puts forward manufactured insecurity as spectacle. The microscopic layer of demodex folliculorum (face mites) enveloping the manicured imagery of influencers and their sponsorship content, speaks to the parasitic nature that’s embedded within this intersection of internalised sexism, capitalism and ageism.

Video Link: https://youtu.be/RcYiBKzqvMM

Geographies of Return

Geographies of Return brings together two practices that trace the contours of memory, loss and landscape; mapping spaces where the personal meets the historical, outlining the processing of grief.

i feel like i know you (2025)

studio saudari (2020-ongoing)

studio saudari started in Berlin in 2020. A collective initiative for sharing, resisting, dreaming, studio saudari is all about collaboration and the love of print publications.

bordering 31 (2022)

Dissecting the features of experiencing a particular mental disorder and the subsequent inherited space of accompanying disillusion the artworks, poetry and soundscape presented by Gabriella Achadinha and the 3D video piece by artist Kim Rosario aim to present the felt as visual.

interviews: pétala (2021), fruta (2022) & jungle (2025)

insert (narrative) (2021)

A gaze is formed by looking upon; controlled by those holding the camera. The “African experience” is often presented by predominantly white, male photographers. These visual tropes still retain a strong usage. They win awards, they reinforce the narrative the Western world often relishes of the ‘Othered’. The theme of the non-Western shown as being tinted in poverty porn, the war torn, the exploited culture.

There’s a copy/paste of subject posed in composition; neither being remarkably individual or intimate in representation, but rather an easy go-to idol of recognisability. By intentionally removing the subjects from the imagery, canvas ghosts fill the frame - void of features - these subjects refract the Western error of immensely exhausted tokens. The use of canvas acts as a reminder of the commodity of classical art and its modern translation to the tradability of photographs in predominantly Western markets. The images themselves are accompanied by titled texts describing the placement of the scene with the repeated use of insert (….) being a reference to that of coding languages, particularly to the practise of inserting a specified value at a specified position. The terminology reinforces a mechanical attribute to this tokenization of subject and scene.

harvesting traces (2024)

Harvesting Traces / a digital archive \ served as a space for the Socio-Political Context (Pre)MA '23 & '24 class at Sint Lucas Antwerpen to document their processes and deep-dives. Experimenting with technique, learning from one another, researching frameworks and methodologies, the Harvesting Traces was created with the intention of being a site : sight of collective gathering.

Designed and coded the collective research site for the Socio-Political Context Masters program of 2023/4 (KdG Sint-Lucas Antwerpen).