I am a transformational art practitioner. I design and facilitate art-based experiences that cultivate and explore different forms of perception, embodiment, and social & planetary relationships.
What I Do
My work treats art as a technology of perception rather than representation or therapy. Through embodied, sensory, and participatory formats, I design experiences that invite shifts in awareness, relationship, and meaning.
This practice is:
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Non-clinical, non-therapeutic, and non-dogmatic
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Grounded in embodied and somatic experience
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Oriented toward social ecological and relational awareness
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Research-informed
Core Pillars
Art as Perceptual Technology
Art functions as a way of reorganizing attention, sensation, and interpretation — opening new modes of experiencing self and world.
Embodied & Somatic Knowing
Transformation emerges through lived, bodily experience rather than abstract understanding alone.
Relational & Planetary Orientation
Experiences are designed to expand awareness beyond the individual, toward others, environments, and more-than-human systems.
How I Work
My practice draws from a constellation of methods, adapted and recomposed for each context.
Method areas:
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Somatic and body-based awareness practices
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Sensory and aesthetic exploration
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Ethnographic, participatory, and relational formats
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Guided attention, reflection, and sense-making
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Practice-based and artistic research methods
These methods are used to design:
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Workshops and group experiences
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Immersive and site-specific formats
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Research-creation projects
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Educational and learning programs
About me
I am a transformational aesthetic practitioner and researcher with a long-standing engagement in embodied transformation, cross-cultural inquiry, and experiential design.
My path has unfolded since 2018 across artistic practice, somatic exploration, and ethnographic research-driven experimentation with various communities, with a focus on creating grounded, accessible experiences that invite new ways of relating to self, others, and the planet.
I intentionally work outside clinical, therapeutic, religious, or institutional frameworks, while remaining deeply informed by both traditional knowledge systems and contemporary research.
Education & Training
My work is informed by a combination of academic study, practice-based research, and long-term experiential learning.
Academic Education
– Doctorate in Anthropology with Visual Media (2024)
– Masters of Arts in Anthropology and Ethnography (2018)
– Masters of Arts in Science, Technology, and Society (2012)
– Bachelors of Science in Public Policy (2009)
Professional & Practice-Based Training
– Certificate in Dancing with Older Adults, 2026
– Certificate in Dance & mindfulness, 2025
– Certificate in Arts-based coaching and spiritual coaching, 2024
–Certificate in Art curation, 2022
–Certificate in Non-fiction and documentary-making, 2018
Ongoing Learning
– Independent research in embodied transformation, aesthetic experience, and ecological consciousness
– Participation in workshops, residencies, and research-oriented programs
Practice‑Based Research
My work functions as a unified practice‑based research inquiry into how embodied aesthetic experience reorganizes perception and expands relational awareness.
Across movement, immersive sensory environments, participatory formats, and ethnographic observation, I investigate how transformation emerges through lived, sensory engagement rather than instruction, treatment, or abstract belief systems. Art is approached not as representation or expression alone, but as a technology for shaping attention, experience, and modes of participation in the world.
The projects presented here are organized into three interrelated research strands. These strands are not separate domains, but interlocking dimensions of a single inquiry:
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how perception and sensation are shaped and reorganized,
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how the body functions as a site of knowing,
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and how experience unfolds in relation to others, environments, and more‑than‑human worlds.
Together, they articulate an evolving body of practice‑based research grounded in somatic experience, ecological and inter-relational awareness, and cultural inquiry.
Research Strand 1: Perceptual Reorganization
"How can aesthetic and sensory experience reorganize attention, perception, and meaning‑making in non‑clinical transformative contexts?"
Projects in this strand use carefully designed sensory conditions—movement, sound, rhythm, spatial arrangement, and guided attention—to disrupt habitual perception and open alternative ways of experiencing self and world. Rather than instructing or persuading, the work creates situations in which shifts in awareness emerge through direct engagement.
Grounded in artistic research, phenomenology, and experiential design, the focus is on subtle perceptual changes: how sensation is noticed, how time is felt, how meaning forms, and how orientation within a shared space shifts. Documentation privileges visual traces, reflective writing, and diagrammatic thinking over quantitative measures. The work is explicitly non-therapeutic; while experiences may feel transformative, they are framed as processes of learning and sense-making rather than healing.
At its core, this strand asks how aesthetic practice can cultivate attentiveness, openness, and interpretive flexibility—capacities increasingly vital in conditions of ecological and social uncertainty.
Research Strand 2: Embodied Knowing
"How can embodied and somatic experience function as a mode of knowing that enables transformation beyond cognitive understanding?"
This strand treats the body as a primary site of inquiry and knowledge production. Rather than studying embodiment from the outside, projects engage lived bodily experience as method, allowing insight and learning to emerge through sensation, movement, affect, and presence. Drawing from somatic practice, movement research, and participatory formats, the work focuses on forms of knowing that resist full verbalization: kinesthetic awareness, shifts in rhythm or posture, changes in relational proximity, and altered qualities of attention.
Projects typically take the form of movement-based workshops, immersive intensives, or long-term practice environments. These formats frame embodiment not as a technique to master, but as an ongoing process of attunement and responsiveness. Reflection is integrated carefully to support sense-making without privileging conceptual explanation over lived experience. The strand operates explicitly outside therapeutic or clinical frameworks; while somatic awareness is central, the work is oriented toward learning and inquiry rather than diagnosis or healing.
By foregrounding embodied knowing, this research contributes to conversations in education, artistic research, and futures thinking about the limits of purely rational models of transformation. It asks what becomes possible when the body is recognized not as a vessel, but as an active participant in meaning-making and relational life.
Research Strand 3: Relational & More-than-Human Participation
"How do embodied aesthetic practices expand relational awareness with others, environments, and more‑than‑human worlds?"
This strand extends perceptual and embodied inquiry into the field of relationship—between people, places, cultures, and more-than-human entities. It examines how aesthetic and somatic practices cultivate forms of participation that exceed individual experience and situate transformation within broader ecological and cultural contexts.
Projects often take the form of site-specific work, ecological engagement, ritual observation, or collective formats that foreground co-presence and interdependence. Drawing from anthropology, environmental humanities, and artistic research, the work explores how meaning and awareness emerge through shared rhythms, spatial relations, and encounters with more-than-human neighbors.
Rather than treating ecology as a thematic backdrop, this strand approaches relationality as an experiential condition—one that can be sensed, practiced, and reimagined. Participants are invited to attend to how their bodies orient in relation to land, soundscapes, weather, architecture, or communal ritual, and how these relations shape perception and action.
