She grew up in Havana, Cuba, where everything—from old cars to plastic bags—is reconstituted and repurposed. This environment has shaped her practice through the collection and veneration of objects, images, and stories that have been abandoned or overlooked. Her work is deeply concerned with archival absences and with turning over two fundamental questions: how do the silences of history speak, and if they could develop this power, what would they say?

Weaving photography, film, performance, writing, and installation, her practice explores how relationships—to ourselves, to one another, to our ancestors, to more-than-human beings, the land, and the built environment—are inherently political, and therefore among our most potent tools for resistance and recovery. She embraces the role of the trickster, using speculative fiction and ritual reimaginings as disruptions that create small ruptures in the everyday—portals to the marvelous.

Combining documentary practices and motifs, she tells fictional stories that present themselves as “true” documents and makes fictionalized interventions into personal and historical archives. Through this approach, her work reveals the mechanics of collective and personal mythmaking, subverting the codification of “official” narratives and dominant histories while opening space for deeper emotional truths.