I have over a two decades of experience in building and creating dope sh* while collaborating with some of the most talented people in the world.
If you asked my mother what I do, she probably wouldn't tell you.
Not because she doesn't know, but because every time she thinks she's figured it out, I go and do something else.
One month I'm writing a book. The next I'm directing a film. Then I'm sculpting strange clay creatures, building games, designing an installation, experimenting with artificial intelligence, recording a podcast, or disappearing into a new world that only exists in a notebook somewhere.
If you asked me what I do, I might not know either.
Not because I'm confused, but because I've spent most of my life refusing to be put in a box.
Some days I'm building imaginary futures
Some days I am talking to machines
Some days I am collecting stories
Some days I chasing an idea that arrived in the middle of the night and refused to leave.
Some days I am a professional collector of unfinished thoughts.
The only thing I know for certain is that I make things.
Stories rarely arrive to me whole.
They appear as fragments. A memory I cannot shake. A sentence overheard in public. A dream. A photograph. A piece of clay. A feeling that refuses to leave.
I spend my life collecting these fragments and turning them into worlds.
My work moves between books, comics, games, theatre, film, podcasts, sculpture, digital art, installations, and experimental technology. I have never been interested in choosing one medium because stories have a habit of choosing their own.
Over the years I have written children's books, erotic poetry collections, anthologies, comics, and photo comics. I have built games, designed immersive experiences, directed films, created digital worlds, and spent countless hours convincing lumps of clay to become characters.
I am fascinated by memory, folklore, technology, identity, grief, desire, humour, African futures, and the beautiful chaos of being alive.
My work often sits somewhere between archive and imagination. Between ancient stories and future possibilities. Between what we remember and what we choose to forget.
Technology has become one of my favourite creative collaborators. Not because I believe machines will replace artists, but because they force us to ask better questions. What belongs to us? What survives? What gets lost? What does creativity look like when intelligence is no longer exclusively human?
Much of my work explores the space where oral histories meet artificial intelligence, where clay meets code, where memory becomes data, and where African stories are allowed to be messy, futuristic, emotional, funny, and impossible to neatly categorize.
Some people collect stamps.
I collect worlds.
Some become films.
Some become books.
Some become sculptures.
Some become games.
Some become festivals.
Some never leave my sketchbooks.
All of them are attempts to understand who we are, where we come from, and what kind of futures we are brave enough to imagine.
I am less interested in telling stories than I am in building places people can step inside.
I believe that art has no boundaries. Every form of expression is interconnected, and I refuse to confine my creativity to a single box.
Over the years, my work has travelled further than I ever expected.
I've collaborated with artists, technologists, researchers, institutions, cultural organizations, activists, educators, and dreamers across the world. Through my own practice and through Creatives Garage, I've worked alongside organizations including Meta, Care International, Goethe-Institut, Mozilla, Aga Khan University Hospital, Pollicy, Alliance Française, Africa No Filter, the African Union, the British Council, the Canadian Embassy in Kenya, the Prince Claus Fund, APHRC, and In Place of War, among others.
My work has been recognized through nominations for the Fak'ugesi Awards, Upinde Awards, She Awards, Kenya Theatre Awards, Women in Film Awards, and as a finalist at the Criminal Queerness Festival.
It has also received recognition through awards including the Prince Claus Seed Award, Google Impact Challenge Award, Behance, Zuri Awards, and the National Diversity & Inclusion Awards.
Fragments of my work have appeared in festivals, exhibitions, publications, and conversations around the world, including KIKK Festival, International Symposium on Electronic Art (ISEA), Bside Festival, OpenScreen, LiftOff Global Sessions, Kilimanjaro Film Festival, Afrika Film Festival, and Queer Clash Diary.
My work and ideas have also appeared in publications including Museo, Through the Window, International Arts Manager, Webtoon Creation Africa, and The Next Renaissance: Culture and Creativity Shaping Europe.
Along the way, I have represented creatives, artists, and cultural practitioners in international symposiums, conversations, and networks exploring the future of culture, creativity, technology, and social innovation.
I am an alumnus of Festival Academy and Association Marcel Hicter pour la Démocratie Culturelle, and a member of communities including the Africa Narrative Collective, Creative South, the Oracle Cultural Network, the Association of Women in Development, and the Mozilla Alumni Network.
But awards, festivals, and publications are only footprints.
The work itself is still the adventure.
"A jack of all trades
is a master of none,
but often times is better
than a master of one"