My artistic practice works from the understanding that creation is not an individual act, but a relational process shaped by memory, territory, individual experiences, and collective existence. As an Afro-Indigenous artist, curator, educator, and cultural mobilizer from Brazil, I believe art can expand our capacity to imagine other ways of living, relating, and organizing society. I’m interested in art as a space where political reflection and sensitive experience coexist. I seek to create situations that invite listening, displacement, and the emergence of new perspectives. Collective work is central to my practice because I understand knowledge as something constructed through encounters — between bodies, histories, and different ways of perceiving the world. My trajectory has been deeply connected to queer identities, Afro-diasporic communities, and grassroots movements across the Global South. Through collaborations and exchanges with artists, activists, and collectives from countries such as Colombia, Cuba, Venezuela, Chile, Ghana, Nigeria, and Côte d’Ivoire, I have come to understand creativity as a transnational language of resistance, care, and survival. My research is influenced by African and Indigenous cosmologies that challenge colonial separations between nature and culture, body and spirit, art and everyday life. In this sense, I see creativity as a living technology of continuity and transformation. Through urban interventions, audiovisual narratives, curatorial projects, and educational experiences, I investigate how artistic practices can activate counter-hegemonic narratives and strengthen community autonomy. As co-founder of Manifesto Crespo, I have participated in collective processes that recognize aesthetics as political language and art as a tool for social imagination. For me, social transformation begins in the symbolic field: in the images we produce, the stories we tell, and the futures we allow ourselves to envision together.