Statement

There is knowledge present in stone, in ritual, in the way light moves through a space. My practice is built on a single question: what is the nature of energy, and how does it shape existence?

Inspired in Ibrahim Karim’s Biogeometry, Michio Kushi’s understanding of matter as vibration, Karen Barad’s quantum framework of intra-action, among others, my work is grounded in a foundational premise — that what appears solid is a dynamic exchange of energy and frequency. Spirituality, as Professor Kaba Kamene proposes, is unseen science: what ancient traditions named as spirit or life force, contemporary physics is beginning to describe through energy fields and quantum entanglement. This practice lives in that convergence.

This curiosity was inherited. Growing up between a doctor mother, a chemist father, an architect uncle, a multimedia engineer brother, a grandfather inventor, and a grandmother who was passionate about travelling and photographing cultures, an understanding formed early: that science, space, and technology were never separate from creativity, but expressions of the same calling. Inspired by sacred spaces and personal experiences like working with filmmaker Jean Pierre Bekolo on ‘Foumban is Wakanda’, witnessing Afa divination in Ghana and mediumship practices in western cultures; studying Egyptian cosmology — the work takes form as phygital installations where materiality and digital information behave as a single living whole. Sensors and responsive architectures register presence, translate movement into data, and fold it back into the space. Light is treated as a living material — a medium for transmission, enlightenment, and the presence of the divine.

The intention is to create ephemeral, speculative experiences and radical imaginaries that invite presence and awareness of the forces that have always surrounded us. Honouring thinkers like Rutendo Ngara — whose work reveals how African science encodes understandings of cyclical time and non-linear progress that quantum physics is only beginning to articulate — this practice proposes that ancient knowledge systems are not metaphors but precise technologies of knowing. And that recovering them is itself an act of creation.

To create is, above all, an act of tuning in.