Miziguruka

My practice emerges from a sustained interrogation of reality’s conditions, driven by an impulse to cultivate and transform what I observe. Through a methodology of subtraction, I extract specific conditions from their original contexts to examine the full magnitude of their reverberations across space, time, and generations, ultimately repositioning and replacing these elements within new frameworks of meaning.

What-if scenarios become the generative foundation for alternative worlds that I materialize across diverse media, selon les caprices des sens. Poetry, performance, and audiovisual works function as interconnected phases within a broader germination cycle, where each medium claims its temporal and spatial territory before converging into a unified gesture.

I conceive of my process as operating through the subconscious as a vessel: a receptive instrument responding to prompts from multiple dimensions of selfhood and lived experience. The relationship between gesture and thought remains deliberately fluid; sometimes the physical act precedes conceptualization, sometimes the inverse occurs. This non-hierarchical ordering serves as a mechanism for making sense of existence itself.

My work constitutes a spiritual endeavor and simultaneous documentation of internal life, an archival practice that traces chains of thought, observation, consequence, and reaction. It functions as both analytical tool and memory mapping of one’s journey through different facets of the same contextual reality. Central to this investigation is the question: How do we experience reality while inhabiting the multiple identities we assume?

Quand l’image se dessine dans ma tête, j’essaie de la rendre à travers la vidéo, yet often I am compelled to construct these visions as inhabitable worlds. They manifest as installations or performances, the specific medium determined by the work’s internal necessity. I seek physical immersion within the worlds I imagine when posing the question “Et si…”: worlds existing across six dimensions when accounting for the virtual realm.

This body of work simultaneously serves as documentation of resilience and a feminist statement advocating for the reappropriation of body, playfulness, and unapologetic imperfection. My decolonial approaches manifest most explicitly in my engagement with Rwandan precolonial archives, which I transform through speculative frameworks to facilitate the reappropriation of local imaginaries via science fiction methodologies.

Through this multidisciplinary practice, I seek to create spaces where alternative histories and futures can coexist, where the boundaries between documentation and imagination dissolve, and where the act of creation becomes both personal archaeology and collective reimagining.