I LISTEN for how land and story meet, for who is lost and found here. As a creative writer, my words often are joined with audio and visuals—of recorded voices, spectograms, and other traces of lost birds and other ancestors. My genre-fluid and multi-media art moves by association, is documentary, and guided by sounds to manifest feelings of absences as companionships. That is, my art supports honoring who remains of Earth’s ecologies—human and more-than-human, embodied and disembodied yet still-speaking—particularly in echoes, from within closed chambers, in-transformation and, always-ever, finding portals, escaping—to co-constitute other worlds that are not merely repetitious. This form of hope defies forces of silencing and erasure, and of loneliness.

My creativity is for defying forces of silencing and erasure, and of loneliness. It is for cracks- and portal-making. As a racialized-white settler—thus systemically, unjustly privileged—and as an exvangelical, my now-apostate work exposes and contests the authoritarianism of my upbringing—the religious patriarchy, white supremacy, colonialism, and the like—and its ironic conceptions of “love.” To counter troubling ideology—those single images trapped inside their frames—I draw upon science, mythology, and other institutions of language, and knowing—which is seeking not to know—and utopias as dream-experiments. I play with ambiguity—shards of voices, collecting and reflecting multitudes, listening for who is lost and found here, in the stories, on the land: how do we relate?