Artist Statement


“I’m black, muslim, queer, and a witch. Everyone

has thoughts about those identities. The aim of my art is to disturb and destroy the casual comfort of the uninitiated in expressing those thoughts in an equally casual manner.

I value community and the input of my peers the most in my process. No artist ever stands alone. If not in communion with each other because we share time and space, then with vocational ancestors. Knowledge of community is knowledge of self. Without community input, you can’t build individual strength. Without self knowledge, you can’t make art.

My current focus is self-reclamation through magic practice. I’ve been applying spiritual technology to performance technology as a means of amplifying the two. This has been a way for me to reach heights of persynal and artistic power of which I didn’t know I was capable. I’ve also been passing my findings along to fellow performers to help them access these resources. One day, I’ll codify my findings into a technique to pass to others.

I love intense, intimate, physical, sci-fi/fantasy, surreal work that doesn’t rely on white cis-het male logic or tradition to get to the point.

We talk about the magic of stage and screen, but what happens when we approach the work as magic practitioners?

I’m most interested in bringing spiritual technology—ancestor veneration and cleansing work especially—back into the process of creating theater and integrate is better into film. I say back because we’re all descended of cultures where performance and spiritual practice were not separate. The way Capitalism is embodied forces them apart. The systems and humans at work to keep Capitalism alive have attempted to malfunction both art and spirituality (not religion) as a means of persynal power. If you have little sense of your persynal power, you will feel compelled to buy the fake version of it that is sold back to you. Bringing a magic practice into the artistic space is a form of revolution.

Life is a series of contractual exchanges between you and other energies. Magic is the practice of becoming aware of how to make those transactions and keep them grounded, protected, centered, and hygienic. It provides the vocabulary by which we ca us keep well balanced the exchange of energy between the actor and the audience or eye of the camera, between the performer and their play space, between composer and sound. But it also provides language of justice and renumeration for when those energies no longer serve us or are violated.

I’ve turned to a magic practice in my personal and professional life because it gave me the relationship vocabulary as an artist to my work that I had always been looking for.

Roles you’re not interested in?

  1. Any role on a nonprofit board unpaid

  2. Being a mule for educating white/straight audiences

  3. Any role where the actors are cast based on how interchangeable they are with other races


  5. Unless it’s highly specific revisionist history or time travel, don’t approach me with a slave or servant roles