I build encounters with ecological and technological volatility.

Too often we meet the unfamiliar with answers formed for other situations, and mistake these answers for insight. If we want to be answerable to what’s happening, we need encounters that our existing ideas cannot absorb — encounters that can exceed the people who design them as much as the people who enter them. The work is not after a position adequate to the volatility, but a relation to it that stays open.

Over eighteen years this has taken form as residencies, festivals, national consultations, and multi-day encounters that place people inside artificial intelligence, ecological damage, and political uncertainty rather than in front of explanations of them.

The dominant responses to volatility — analysis, ethical frameworks, policy — treat understanding as a precondition for action. The work argues otherwise. The encounter does not precede understanding. It stands in its place.

The Work


Shipwreck 2024–2025 · Reykjavik, Montreal

Six Canadian artists brought ruins of possible futures to a former dairy barn outside Reykjavik. Six Icelandic artists were asked to make a home among them. No explanations were offered. Produced by Kasra Goodarznezhad.

Carnival of Shipwreck  October 2024  ·  Toronto

A five-day festival across two venues, structured as carnival in the Bakhtinian sense — inversion, reversal, excess — as a way of meeting collective disorientation. Funded by the Canada Council and Arts Council Korea.

A woman with black braided hair performing with electronic music equipment in front of a crowd in a dark, smoky room. The audience includes men and women, some holding drinks and one person taking a photo.
A woman with black braided hair performing with electronic music equipment in front of a crowd in a dark, smoky room. The audience includes men and women, some holding drinks and one person taking a photo.
Multiple screens displaying weather, satellite images, and maps in a dark room, with a metal robot in the foreground.

When Spiders Spin Dusk  2024–2025  ·  Toronto, Seoul

A Canada–Korea co-production. Six artists, three from each country, spent three months on research before making new work on ecology, climate, and non-human entities. Exhibited at The Bridge and the Art Sonje Center.

Intelligent Terrain  2022, 2024  ·  Wakefield, Quebec

A land-centred residency at a regenerative farm, in partnership with the Canadian Museum of Nature Archive, on cognitive technology's relationship to land and non-human intelligence.

Nighttime outdoor scene with three individuals, two men and one woman, gathered around electronic equipment, including laptops and a large white device hanging from a tree. One person is pointing at something in the tree while the others observe. The area is illuminated by headlamps and the equipment's glow.
A group of six people gathered around a table in a room with wooden floors and a wooden ceiling. They appear to be working on a project with various tools and materials on the table. The room has an industrial style with brick and white walls, and some shelves and furniture. One person is standing while the others are seated, some leaning over the table.

Ferment  2018–2020

Three consecutive residency cohorts, building a community of artists working through culture and technology. When COVID arrived, that community drove UKAI's emergency programming.

New Not Normal  2020–2021

A platform built as a counter-proposal to corporate social media during lockdown — somewhere to map and share emotional responses to the pandemic without the extractive logic of algorithmic platforms.

Design for an 11-week paid residency program combining art and tech for community care, featuring hills and trees in nature, colorful abstract shapes, and text with program details.

Material Culture Under Authoritarianism  2026  ·  in progress

Current research into the objects, records, and rituals people make under conditions of political closure. Developing as a book and through a record label partnership.

An empty room with a window, radiator pipes, and wall art, featuring a map laid out on the floor.

Books and publications


A studio image of the front cover of In Praise of Disorder vertically placed on a horizontal copy of the text. The image is black and white.

In Praise of Disorder
an argument for less control

Fully-bound image of Poetics of Synthetic Language - riso-printed in Milan by Press Press Milano and designed by Mida Fiore.

Poetics of Synthetic Language
riso-printed anthology

A spiral-bound notebook with a cover image of a blue sky and moon surface, lying on a beige surface. Document is the print version of GROUND, an art-RPG published by UKAI Projects

GROUND
tabletop roleplaying game

Residencies and exchanges


SÍM Residency, Korpúlfsstaðir, Reykjavík  ·  Ferme Lanthorn, Wakefield  ·  Ferment AI Exchange, Berlin  ·  transmediale, CTM, ZK/U, STATE Studio  ·  Leighton Artists' Colony  ·  MythLab, Esalen Institute

Open to curatorial and residency conversations · Full CV (PDF)