I work at the intersection of philosophy, poetry, cultural criticism, and public art. My writing and curatorial practice are grounded in a simple but demanding premise: justice is inseparable from voice. I am interested in the mechanisms by which violence is minimized, aestheticized, or laundered into something socially acceptable. In my essay The Lolita Signal, I describe this as “cultural laundering—literature reduced to an alibi” and as “literature as camouflage.”
Across essays and poems, I treat language as a site of power. When discretion masquerades as sophistication and silence functions as social currency, we train ourselves into normalization. My work insists on accurate naming and on refusing the rituals of minimization that protect perpetrators and erode truth. This framework informs my poetry, where I have written about “algorithms of erasure” and the incremental stripping away of truth and humanity. It informs my editorial practice as well, where I structure anthologies to move from fracture to reckoning to light—making visible the arc of survivor knowledge rather than offering false resolution.
I am trained in Adlerian theory, grounded in the understanding that we are not only indivisible from ourselves but indivisible from one another. This belief in gemeinschaftsgefühl—our shared social interest and capacity for belonging—underlies every aspect of my work. Transformation and meaning-making are not solitary acts, but practices we engage in together.
Through Write Where We Belong, I have built an ecosystem that integrates workshops, publishing, and public installations. The “What Were You Wearing?” exhibits I curate bring survivor words into public view, explicitly designed to upend victim-blaming narratives and re-center truth. The expanded 2026 installation model develops this work into a multi-modal intervention—storyboards integrating survivor testimony and data, audio-visual documentation, and site-specific public engagement across multiple cities. This is not symbolic programming. It is infrastructure—designed to be replicated, taught, and used in professional training and community education.
My work integrates the disciplines and practices that have shaped my life—philosophy, Adlerian theory, art, poetry, neuroscience, ethics, research, and the curatorial work of creating and exhibiting art. Each is part of the same inquiry into how we live with suffering, beauty, and moral responsibility.
I understand neurodivergence not as a deficit but as a way of perceiving—a way of noticing what others often overlook, of questioning what has been accepted as inevitable, of creating new frames for understanding and repair. Divergent minds hold the capacity to build connections between disciplines and to design new pathways for seeing, understanding, and healing.
I believe that art and writing as crafts belong to everyone and that a writer is someone who writes. This conviction shapes how I teach, facilitate, edit, curate, and create: every voice matters, every story belongs, and the act of writing itself is both art and community.
In all of it, I return to the same claim: Silencing is itself a form of violence. And so I write—and build—so that silencing can be interrupted.
Through Write Where We Belong, I invite others to join this community: to write, create, and bear witness together. Together, we can participate in healing our broken world by using our creative selves to transform trauma into meaning, and meaning into change.