The basis of all my work is exploration and the interpretation of my experiences. My practice is the outlet for me to explore my curiosity on different topics and themes. In my practice I have explored desire, connection, and sexuality.

Currently, I am spending time expanding on these topics, focusing on the depiction of the Black nude female body - how it is perceived in the world, the themes of home, and connection. I cycle through linocut printing, oil painting, and digital illustration as my mediums of choice. In my work I lean into the whimsical and fantastical elements of creating, drawing inspiration from classical styles like the romantic era, and the art nouveau era within art history.

Finding myself at a point in time where my existence as a Black queer person is for the first time in history not only allowed, but celebrated. I am using my work to mark my place in contrast to the extenuating systems that formed our collective reality. My work is heavily intertwined with my identity and how I experience the world and my pieces will always reflect this. My practice has allowed me to reflect on the reality of these systems and then reimagine a world outside of them.

My work begins with fragments: torn photographs, vintage magazines, letters, discarded paper and bits of gold leaf that once belonged to someone else’s life. I collect what feels forgotten or overlooked and slowly build new narratives through cutting, layering and rearranging by hand. Each collage is an act of reconstruction, where breakdown becomes possibility. I never begin with a fixed plan; instead I let intuition, emotion and memory guide the process. What emerges are layered compositions that hold traces of many stories. You might see faces and gestures, architectural lines, domestic spaces or abstract forms that seem to belong to another time. These fragments, when joined, reveal new meaning, reflecting queerness, migration, love and resilience. The visible seams, tears and overlaps are intentional; they remind us that beauty often lives inside imperfection and that the past is never fully gone. I am deeply inspired by displacement, survival and the tenderness that remains after chaos. Having lived through exile and activism, I carry multiple identities that intersect and sometimes collide. Collage allows them to coexist, to speak to each other across boundaries. My practice is also influenced by poetry, as both art forms rely on rhythm, repetition and emotional truth.
Each work is an invitation to slow down and look closely, to recognize something of yourself in the fragments, to see how loss can transform into connection. Through reassembling pieces of the world, I keep searching for wholeness, beauty and belonging.

This installation explores interconnectedness, identity, and community, referencing the Cree concept of Wâhkôhtowin, or kinship. It reflects the understanding that we are all spiritually and relationally connected to our cultures, identities, and one another. The installation is made to feel intentional and personal, incorporating objects from my own life and artistic practice.

Artists and storytellers carry cultural and social continuance, sustaining our communities, teachings, and histories. Through this work, I hope to inspire young people to believe in themselves and advocate for inclusion and representation. Gratitude to Robyn of Eagle Medicine Coaching for sharing teachings on Wâhkôhtowin and inspiring the red thread.

Tita Jojri’s Spirit Detective Agency imagines worlds wherein queer-bodies-of-culture have access to a spiritual/material societal conditions that meet the complexity and depth of their experiences and stories. Based on Jordan’s radical-tsismis divination process, this installation communicates through the webbed intimacy of gossip, or the ways that care can navigate a clear through-line through the nodes of complex systems and circumstances. What keeps this connection to care strong is a rigorous and active self- and community-alignment to anti-oppressive values and practices. This interactive installation is designed from and rooted in the belief that we all require access to the power, scope and permissions of artistry to meet the real practical challenges and possibilities of being and offering our best to each other in community. At the most anonymous level, participants are encouraged to respond and contribute to a picture of a growing and evolving web of community connections across time. On a more intimate and cloistered level, would-be and practicing community artists can book peer-to-peer artist support time to meet in the agency to discuss and map a complex situation or idea with Jordan. The dream of this project is to build community connections through strengthening our collective care-capacity, discernment and systems-literacy. Jordan’s deepest gratitude goes to Leanna Barwick, whose essay “What Refuses to Disappear” helped inspire this installation, JL Umipig whose Kapwa Tarot deck continues resonate with power and profound wisdom throughout the Filipina/o/x community, and to my teacher and dear friend the late and great JD Derbyshire, who guided me in how to commune with all my selves and whose Inclusive Design work is the woven into everything I imagine for community.

A large canvas is painted by Mike using acrylic paint. Figures are shown throughout the canvas, with abstract video revealing itself through holes in the canvas. The video is abstracted footage of trans people displayed on CRT monitors, evoking a feeling of transness rather than a recognizable image.

The work is inspired by the various forms and states transness takes in the physical and mental realm, as well as through time.

My work is an exploration of queer materiality, where luxury meets kitsch and fragility meets strength. I combine high and low materials: expensive hand-blown glass sits beside concrete, epoxy, glitter, and costume jewelry. These collisions of value and texture echo the tensions within queer identity itself, between visibility and vulnerability, performance and authenticity, excess and restraint.

Each piece is made intuitively, allowing form and surface to unfold through play and instinct rather than rigid planning. I’m drawn to the aesthetics of drag and excess, where transformation, sparkle, and spectacle blur boundaries between art and artifice. The work often pushes the limits of balance, both literal and metaphorical, with queer cantilevers that hold weight and tension in precarious harmony.

I’m inspired by the material itself, by glass’s ability to reflect, refract, and reveal, as well as by the broader language of queer culture, where beauty, humor, and resilience coexist. Through my objects, I hope to create spaces that feel simultaneously strong and delicate, honest and performative, much like queer experience.

In the end, my work asks viewers to consider how we construct value, glamour, and meaning from the things we touch and the stories we tell. It is an act of reclaiming craft as a site for queer expression, where shine and sincerity can coexist unapologetically.

This body of work centres the intersectional lived experiences of queer South Asian and diasporic communities, where queerness often exists quietly and with care. In contexts where visibility can carry risk, joy becomes intimate, coded, and deeply imaginative. These interior and closeted worlds are not diminished or lacking; they are layered ecosystems shaped by resilience, desire, and survival, sustained through everyday acts of making, belonging, and inherited histories.

The work takes the form of an intimate installation composed of clothing, textiles, art, and found objects arranged within the gallery space. Viewers encounter layered materials that evoke domestic interiors and the closet as both shelter and constraint. The installation prioritizes closeness and material presence, inviting slow looking rather than spectacle.

Within this framework, clothing anchors the work as both material and metaphor. In South Asian cultures, fabric shapes how bodies are read and regulated through drape, colour, ornamentation, and texture. Working with recycled garments, heirloom-quality pieces, wallpaper, and personal materials, I treat this curation as both archive and landscape, foregrounding gender as something materially produced. Sustainability is approached as responsibility rather than trend, directly responding to a global fashion system that extracts from the Global South while discarding both material and human value.

Looking forward, the work imagines slower, more accountable futures, where care replaces excess, queerness does not require concealment, and joy is shared rather than consumed.