visual and audio descriptions from top to bottom:

background image: an abstract photograph of flowers and leaves, wet with water droplets, behind a plastic sheet with blue light reflecting off of the scene.

1) 'tell me what it's like when i call you' / a sketch (2023)

about this piece as shared in IDHA’s may 30, 2023 event seeding transformative community

self-portrait video, ink, paper, audio excerpt of the composition 'somerset repeater' (2014 / vocals, Sea Organ of Croatia, field recordings, samples of ham radio transmissions). title excerpted from the poem 'i heard you went long' (2022) in forthcoming chapbook, 'why would we want these names'.

wide shot video vignette of miro, a white-bodied enby with a shaved head wearing a long lavender scarf on their head, an oversized black pantsuit cinched at the waist with one leg unbuttoned, exposing a maroon patterned pant leg of foliage and birds, and maroon boots. they move in a slow, angular, choreographed manner, looking directly into the camera, amongst desert flora*. a collage of semi-transparent videos loop over the scene: on the upper left, miro's face hovers over a pitch-black field, illuminated by an unseen sun that filters through bamboo leaves that blow in the wind, the shadows dancing across their face as they gaze down into the camera. on the lower right, miro's finger traces the path of a labyrinth, painted in black ink on white paper, and another view shows an ink painting by miro of various expressive faces.

*flora of southwestern Turtle Island, on the stolen land of the O'odham Jewed, Sobaipuri, Tohono O'odham and Hohokam

2) an abstract photograph of flowers and leaves, wet with water droplets, behind a plastic sheet with blue light reflecting off of the scene. it is slightly overlayed on top of the following image:

3) a surreal self-portrait of miro, a white-bodied enby with a shaved head and dramatically-drawn eyebrows, their face somewhat obscured behind a plastic sheet with flowers and leaves, blue light reflecting off of the plastic and water droplets.

4) 'after the _______ ,' / a sketch (2023)

self-portrait video, aluminum sculpture, 35mm film, hair, spices, dust excerpted spoken word of the poem 'after the _______ ,' from the forthcoming poetry chapbook, 'why would we want these names'

subtitled video can be found here: https://youtu.be/pWTgKiWsFCM

a video collage over an abstract speckled field of grey (a scanned film strip baked with spices, dust and hair). video loops include: an aluminum sculpture on a field of dried golden grass that blows in the wind; sunlight, filtered through tree branches that blow in the wind, dances across a lined notebook page; sunlight, filtered through tree branches that blow in the wind, creates dappled shadows that dance across the upper body of miro, a white-bodied enby with a shaved head and dramatically-drawn eyebrows with sculptural earrings and a blazer; light reflects off the surface of a tide pool, filmed in black and white, a white shell housing a hermit crab moving in the center of the frame***; miro, in a black pillbox hat and suit, crouches in glitch near the camera with a bouquet of pink valerian flowers; black and white interior shot moving through a hedge maze; black and white close-up shot of miro's face as they rub their face anxiously with their hands; miro, in a black silk shirt, holds their palm and a transparent chunk of selenite in a hypnotic manner, the selenite magnifying their face in the foreground.

**on the stolen land of the Blackfoot / Niitsítapi ᖹᐟᒧᐧᒣᑯ, Salish, Cayuse, Umatilla and Walla Walla

***on the stolen land of the Cayuse, Umatilla, Walla Walla, Semiahmoo, and Nuxwsa’7aq / Nooksack

all other images captured on the stolen land of the Cayuse, Umatilla, Walla Walla, Duwamish, Suquamish, sdukʷalbixʷ / Snoqualmie, Muckleshoot and Stillaguamish