Embedded Files
Image Description of fly-though video thumbnail (all images have ALT text and/or image description): A tree landscape, with pink canopies, blue/purple trunks and roots, with yellow portals and lavender mushrooms, inviting a swooping visit.
Fly-through video of the 3-D tree world, a glimpse of a 360-video portal, and a 2-D portal world.
Development/3-D Design: Daniel Vincent with Sara "Dari" Eskandari.
Sound art by Mikel Mwalimu-Banks, Gregory Kage, EM Gong, and Richard Anderson
Performer in 2-D video: Akhila Vimal, created while Petra was artist-in-residence at the Huntington Botanical Gardens, California, May/June 2024.
A Just Tech Fellowship Project, 2024-2026
Interview about the Project, March 2025
2 min video: Petra speaks about the Project. March 2025
Current performance offering: Planting Disabled Futures - a virtual reality ritual
This crip intimacy installation invites you into a world of healing plants cultivated by disabled peoples’ embodied ways of knowing. Come, try out a headset, hold a plushy critter, and become entangled with the ways we as disabled people honor and engage with plant elders.
General Description
In the Planting Disabled Futures project, we use live performance approaches and virtual reality (and other) technologies to share energy, liveliness, ongoingness, crip joy and experiences of pain.
In the development of the Virtual Reality (VR) components of the project, we ask: How can VR allow us to celebrate difference, rather than engage in hyper-mobile fantasies of overcoming and of disembodied life? How can our disabled bodymindspirits develop non-extractive intimacies, in energetic touch, using VR as a tool toward connecting with plants, with the world, even in pain, in climate emergency, in our ongoing COVID world?
Project Gallery
First row: Images from House Parties at disabled people's homes, or outdoor community settings: the way we connect with users in small ritual circles throughout 2025.
Second row: Sharing as part of Crip Tech’s Touch Aesthetics Lab at Pieter Performance Space, Los Angeles, and more (May/June 2025).
Third row: community dance/VR station participatory performance at the Duderstadt Video Performance Studio, University of Michigan, February 14th 2025, our initial proof-of-concept sharing.
Fourth row: images from the watercolor/cyanotype design brief for the tech team: working on the edges of human/non-human image creation.
Dreaming with Plant Elders
Dreaming with Plant Elders
At a Queer Clothing Exchange/Mutual Aid event on a farm in Ypsilanti, Michigan
At a Queer Clothing Exchange/Mutual Aid event on a farm in Ypsilanti, Michigan
De-Briefing with plushy tradigrade after plant flight
De-Briefing with plushy tradigrade after plant flight
Sharing at an accessible private house party on the East Side, NYC
Joy and Dreams in Afrofuturist Space
Joy and Dreams in Afrofuturist Space
Sharing at an accessible private house party in Harlem, NYC
Pieter Performance Space
Pieter Performance Space
Encounters as part of the Crip Tech’s Touch Aesthetics Lab's Public Sharing
Pieter Performance Space
Pieter Performance Space
Encounters as part of the Crip Tech’s Touch Aesthetics Lab's Public Sharing
Cozy Space Up North
Cozy Space Up North
At a gathering/house party in Up North Michigan, dreaming together.
Community Dancing
Community Dancing
From our Proof-of-Concept sharing, a group of people moving around mushrooms, encountering soil creatures.
Exploring meditative VR space
Exploring meditative VR space
Proof-of-Concept sharing: one of the users in a headset, looking around the tree world.
Twirling amid tree creatures
Twirling amid tree creatures
Proof-of-Concept sharing, in the Duderstadt Video Performance Studio, with a projection of our tree world, with creatures, dancing community members.
A watercolor mock-up of the Crip Cave, with moira williams' Stim Tent, two VR stations, and a table for drawing/writing.
A cyanotype/watercolor mock-up to inspire our app: tree-like structures, with portals and choices to go up (into leaves) and down (into the soil)
A cyanotype/watercolor mock-up of the roots with portals and haptic sensation surfaces.
A cyanotype/watercolor mock-up of little critters that might accompany you on your journey through the environment.
Director's Note/Introduction to the Tree World (in the headset):
Welcome, dear somanaut. You are a somatic traveler in the imaginative realm of interconnected bodymindspirit space.
Welcome, dear holobiont, creature made up out of many creatures, queer relations, strange touch.
Welcome to this world of plant elders offering a disability-focused playground of movement and fantasy.
As you find your breath and orientation in this world, give thanks to the many creatures that are you. You are the bacteria in your gut. You are the living creatures that nest on your skin. We are all interdependent assemblages.
Our tree world is made of similarly multiple life forms. In this world, “disability” is part of diversity. This world’s focus is on connecting relationships, not on competitive fitness. Here, we celebrate life and its essential play, not the capitalist nature of your contribution. You, I, the tree, we all are a web of improvising relations. There is nothing to win here but contact.
Come in, and fly, and breathe, and dance, and explore the tree and its portals.
Full Project Description
Planting Disabled Futures explores virtual reality (VR) technologies with fellow disabled choreographers/film-makers/dancers, to ask questions about access, community, sensuality, environmental poetics, and the futures of queer/crip play. We play with VR techniques in community performance settings to create an immersive experience that offers disabled and non-disabled audiences opportunities to move with disabled dance artists and visualizations of future plants, engaging communally in delicious movement rituals. The focus of the project is on enjoyment and enrichment, with collaborative debugging, aesthetic access, and tech/life integration as tools toward the playful immersive community potential of VR.
Even though much progress has been made in the representation of disability and sexuality, disabled people are still rarely seen as agents of sexual creativity or as queer improvisers projecting themselves in new ways into the future. This project engages this ongoing problem by offering registers of tech play, of technologically mediated representations of disability that are not cure-based, but are sassy, affirmative, and pleasurable in interspecies engagements. We will explore environmental queer narratives, engaging unnatural plants, resiliencies and healing pleasure. We will explore a range of performance access techniques, from the integrated aesthetics of audio description and creative captioning to disability culture techniques like storytelling prompts and scores.
How can VR allow us to celebrate difference, rather than engage in hyper-mobile fantasies of overcoming and of disembodied life? How can our disabled bodymindspirits develop non-extractive intimacies, in energetic touch, using VR as a tool toward connecting with plants, with the world, even in pain, in climate emergency, in our ongoing COVID world?
This project aims to comprehend VR’s affordances and their gendered, racialized, classed and ableist histories, to come up with new models, and to imagine them playfully and critically in a just world and in interaction with many different people.
Available for Travel/Booking/Engagement from Fall 2025 onward:
The project is currently using video and meditative encounters in parks, outdoor spaces, and house parties in disabled people's (hence accessible) homes to explore ways of being, working, breathing together.
Offer 1: House Parties/Plant Elder Ritual. We are happy to run house party experiences with you, in an accessible space, for 4-6 people, with access protocols in place. We'll bring 1 or 2 headsets, a lovely ritual score, and companionship: this is not a lonely VR experience.
Offer 2: versions of the full Crip Cave experience (first tech run-through in February 2025, Summer 2025: next development stages: an audio-forward pathway, Fall 2025: haptic integration)
When audiences come to a Planting Disabled Futures installation, they enter a performance space - the Crip Cave - not just a room with a VR headset. Our experience will be set up for people with little experience with VR, so two performers will act as VR access doulas and as guides through the experience. In the crip cave space will be (depending on travel/availability) chairs (with one or two headsets), stations for audio engagement (for those people for whom VR visuals are not accessible), a stimming space (created by moira williams), and a low-tech writing/doodling table for debriefing and engagement.
Inside the VR part of the experience, people encounter an animated 3-D tree, with multiple portals - and these portals are filled with the traces of many different disabled and mad artists - 2-D films, 360-degree films, dances, sound poems, meditative dream journeys, and more.
Contact petra@umich.edu for details.
Below are glimpses of a May/June 2024 residency at the Huntington Gardens where Petra and her collaborators engaged each other, plant beings, and the world in delicious performance scores - which now fill some of the portals of our 3D tree world.
(Image Description: Nina Sarnelle lies in a field of green plants and holds a dry Elephant Ear Plant leaf up to their smiling face. Selwa Sweidan is gently touching their back)
This video shares traces of 14 encounters in the Huntington Gardens, where Petra Kuppers was a Visiting Fellow, and where she met with local artists to explore new intimacies among and with generous plant beings.
Planting Disabled Futures at the Huntington Gardens, San Marino, California, May/June 2024
Video description (the video is subtitled and includes short audio descriptions):
Akhila Vimal, holding her blind cane in one hand, moves gently inside a bamboo forest, caressing and engaging with the plants. She audio describes her own movements. A leaf twirls by itself in mid-air over a leaf-strewn ground while kids engage with Petra. Eli Houston energetically engages a tree, hands touching bark. Bonnie Ong moves with a big leaf, tracing small and large movements. The video ends with still images of a diverse set of participants, touching plants, leaves, the ground, in pairs or alone.
(Image Description: Eli Houston holds a palm tree between their palms, the tree's bark is seamed and growth-scared)
Huntington Participants:
Elisabeth Houston
Selwa Sweidan
Nina Sarnelle
Jessica Beckman
Jennifer Scappettone
Joshua Stein
Gabrielle Civil
Ruth Hellier
Syrus Marcus Ware
Akhila Vimal
Jessica King
Robert Hori
Norma Bowles
Bonnie Ong
Touching Bamboo
Smell, touch, taste the leaves, move from stem to stem, find a place for yourself
(Image Description: Akhila Vimal touches bamboo plant leaves in a bamboo forest)
Touching Monstera
Feel the wind, the air, moisture content, your wheels on the soil, the impersonal intimacy of the waxy leaf surface gliding along your fingertips
(Image Description: Bonnie Ong dances with a giant leaves in a lush green world)
My University of Michigan Team: DMC Emerging Technologies Group
Lead Developer/Programmer: Daniel "Danny" Vincenz (he/him) is a multimedia designer and developer with the DMC Emerging Technologies Group, and a graduate of University of Michigan’s STAMPS School of Art & Design. He has ADHD and works in a variety of disciplines, ranging from graphic design, motion design, game design, 3d modeling and web development. He strives to make work that's clear, friendly, and accessible to all. In his personal work, he focuses on cute, vibrant and happy aesthetics.
Sara “Dari” Eskandari (they/them) is an extended reality software developer with the DMC Emerging Technologies Group, specializing in developing VR/AR apps for research, medical, and educational use. Graduated from University of Michigan’s STAMPS School of Art & Design with a minor in Computer Science, Dari is a passionate interdisciplinary developer, designer, and educator. Dari works to increase the accessibility of new technologies to their students while discussing the rapid and undulating effects of immersive technologies on daily life.
Stephanie O'Malley (she/her) graduated with a degree in fine art from the College for Creative Studies in Detroit Michigan. With a focus on video game development, she went on to work as a game artist for the only cross-platform video game developer in the state of Michigan - a small indie studio started by the producer of the Call of Duty series. In 2012 she began working for the University of Michigan's Digital Media Commons, where she has contributed to the development of hundreds of cutting edge research projects and educational tools leveraging XR technologies. Stephanie is now the Associate Director of the Duderstadt Center's Emerging Technologies Group, overseeing a talented group of XR developers and the University's Visualization Studio - one of the first and largest labs of its kind devoted to leveraging XR technologies in academia.
Other Collaborators:
Main Tree Space Music for the project: Mikel Mwalimu-Banks, Gregory Kage, EM Gong, Richard Anderson
Mikel Mwalimu-Banks is a Native New Yorker vocalist, musician, storyteller & teaching
artist. He is a 17-year member of Burnt Sugar the Arkestra Chamber and a vocalist and
multi-instrumentalist with the Afro-Tronic band Digital Diaspora. A proud descendant of the Jamaica, Queens lineage of visionary musicians, Mikel Banks has performed with ground-breaking artists such as percussionists J.T. Lewis, and Kenny Martin, as well as the legendary guitarist Ronnie Drayton. Mikel was a co-founder and co-lead singer for the band Women in Love along with co-founder Greg Tate, vocalist Helga Davis, & bassist Me’Shell Ndegeocello. He has been featured in a number of indie films and videos. He lives with his wife in Harlem and together they are weathering the storm of his recent diagnosis of FSHD (a form of muscular dystrophy).
Project Dramaturg:
alexis riley (she/they) is a white disabled psychiatric survivor and interdisciplinary performance artist from Shawnee and Osage Land (colonial West Virginia). They currently direct The Mad Memory Project, a multi-year performance series that explores mad embodiment in and beyond archives. Alexis is a President’s Postoctoral Fellow at the University of Michigan.
Additional Music/Sound Development:
Rebecca Caines (she/her) is a Canadian/Australian socially-engaged creative technologies, artist and scholar from York University, Canada. Her experiences with disability in her own life and in her family connect her to the sustaining, innovative, and powerful worlds of disability art, activism, and culture that deeply inform her worldview. She has co-created award-winning large scale community projects in sound art, performance, and digital art, with partners including Indigenous communities, families and support groups, survivors of healthcare injustices, and arts and education networks. She publishes research on art and technology in social justice, contemporary understandings of community, and the fragile promise of ethical connection through improvisation and new ways of listening.
Haptic Object Development:
moira williams (they/them) is a disabled Indigenous artist, curator, organizer and dreamer weaving together cross-disability justice, gatherings, and arts with Indigenous tech, eco-somatics, and queer ecologies. A lifelong environmentalist, moira’s often co-creative work leads with disability and practices of abundance by imagining “ecological intimacy” as an extension of Mia Mingus’s concept of “access intimacy”. their weavings invite ways towards deepening our ecological relationships and understandings with the land and one another.
Critter Development, with his students at Georgia Tech:
Jason Woodworth-Hou (he/him) is a recent PhD. in Performance Studies with an emphasis on dramatic and new media from the University of Georgia. His research includes exploring digital reenactments of historical events in the geographic spaces where they were purported to occur. He currently lectures for Georgia Institute of Technology, teaching “Shakespeare…technically,” Intro. to Film, and Animation. During his time at Georgia Tech., Jason has been recruiting/training a core of young engineers, programmers, and 3D artists all interested in building virtual environments for uses in storytelling within history, dramatic arts, and film contexts.
Additional Portal material includes work by:
Desiree Mwalimu-Banks is a Zambian-born, East Coast-raised interdisciplinary artist and educator. Her work explores somatic relationships between indigenous identity, water ecologies, and apiary culture within the framework of the sacred feminine and the African diaspora. She creates sound and video installations which reimagine the frequencies and landscapes of the archetypal feminine and its relationship to self-actualization. Desiree has partnered with individuals and communities in re-visioning embodied interdisciplinary collaborations with the natural world including Movement Research, Stanford University, Naropa University, Harvard University, CUNY, Wave Farm Radio, Manhattanville Purchase College Interfaith Studies Department, and The Caribbean Cultural Center African Diaspora Institute. As an ordained reverend, and Priestess of Isis, Desiree offers ritual support through the archetypal journey into the Sacred Feminine.
bree gant (she/they/slim) is an artist and thinker from the Westside of Detroit. They work in performance, film, video, and print, rooted in ritual and intimacy and a legacy of Black Queer Feminism. They spend a significant amount of time binging science fiction and fantasy, waiting for the bus, and elbow-leaning in windows.
Denise Leto (she/her) is a queer, multidisciplinary poet, dance dramaturge, writer and stroke survivor. Currently, she is poet dramaturge for the London based dance/video production “Brain Odysseys.” She was poet dramaturge with Cid Pearlman for home (Body), a film/poetry/dance installation which premiered at the Santa Cruz Art Museum and The Cultural Educational Centre Artium in Viimsi, Estonia. She recently presented work on voicing at the New Orleans Poetry festival and was featured at The Poetry Foundation.
Surabhi Naik (she/her) is a designer and poet based in India. Her creative life has taken an interdisciplinary path across architecture, documentary film, interactive media development and poetry, and is grounded in practices of care and world-building. Naik’s affiliations and collaborations span organizations in New York City, including Culture Push, Works on Water, Equity Design Inc, and Parsons, as well as Alotnesse Studio and Urban Design Research Institute Mumbai. Most recently, she was a Brooklyn Poets Fellow, and received the Wingword Poetry Prize 2024. Naik earned her MA in Media Studies at The New School in New York City.
Nush Agarwal (they/them) is a multimedia artist. They are currently a student of Temple University, pursuing an MS of Music Technology. They create electronic and acoustic music for audiovisual works, and explore aspects of sensory immersion and meditation in their work. Additionally, they are a passionate 'ukulelist, dedicated to both performing and teaching the instrument to spread the joy of music. Outside of music, Nush holds disability justice work close to their heart.
People Who Helped Visioning the Project
Cynthia Ling Lee is a Taiwanese American interdisciplinary artist who creates embodied art rooted in crip, queer, and feminist of color praxis. She is curious about long-hauling as an alternate embodied training that contradicts dance's ableism, the anti-capitalist wisdom of mosses, the delicate strength of crip care webs, and embodied art that departs from “the show must go on” urgency of theatrical production. Their work has been presented internationally at venues including Leslie-Lohman Museum of Art (New York), REDCAT (Los Angeles), Kuandu Arts Festival (Taipei), and Chandra-Mandapa: Spaces (Chennai). Cynthia is an associate professor of Performance, Play and Design at UC Santa Cruz.
Kym McDaniel (she/her) is an experimental filmmaker, interdisciplinary collaborator, choreographer, curator, and performer. Her films have recently screened in solo and two-person screenings at UnionDocs, Mills Foley Microcinema, Cellular Cinema, Rhizome DC, and the Society for Disability Studies Conference, as well as in group exhibitions at the Whitney Humanities Center at Yale University, Ann Arbor Film Festival, Slamdance, and Superfest Disability Film Festival, among others. She is currently an Assistant Professor in Dance Film and Digital Technologies within the Dance Department at The Ohio State University.
(Image Description: A cyanotype (blue) and watercolor mock-up of what the VR app might look like: a violet leaf with sensation hubs, little white ink portals,that might lead to audio dream journeys)
Development Points our Project: Our Project History
slowly developing from late summer/fall 2024 onward
October 4-6, NDEO (National Dance Educators Organization), Planting Disabled Futures presentation.
27-29: TaPRA (Theatre and Performance Research Association, UK), Bodies and Performing Working Group.
“Planting Disabled Futures:” Virtual Reality, Joy, and Solarpunk Soil Sensoria presentation (online)
July 28-31: ATHE (Association for Theatre in Higher Education) conference, online. Keynote participation and Workshop.
Welcome to the Crip Cave, a community performance invitation of virtual reality play and audio dream journeys that centers encounters between disabled people and plants. Think delicious touches, open play, more-than-human erotics, new futures. Our keywords include: ecosexual, anthropussy, holobiont, compost, regeneration, degeneration, alter kin, microbiomes: animals in our bodies/in the soil, Inside/outside permeability, community erotics, embodied sensory politics – and dirty squishy muddy marshy unclear demarcations of the most delicious kind. In our online workshop, we will listen and view, visit and play in the Planting Disabled Futures crip cave, and then create our own stories to add to the emerging community archive. This session is suitable for people interested in discussions of virtual reality and access, community performance and queer/crip play, technology and playful hope.
July 22: Eco Soma/Planting Disabled Futures presentation at Intersectional Humanities Summer School, Maynooth, National University of Ireland (online)
July 8 "Plant Breathing and Ecocrip Respirations: Planting Disabled Futures" pre-conference workshop, co-run with Orchid Tierney, ASLE (Association for the Study of Literature and the Environment) conference, Maryland + House Party on the 11th, in the dorms (in person)
In this workshop, we will use eco soma experiential exercises, video work, writing and a glimpse of virtual reality experiences to enter into plant time, into plant breathing, as delicious guides into our own differences. Using our own breath experiences as guides into breathing otherwise, we open ourselves to alternative time signatures, different rhythms. Broadly speaking, vegetal breathing involves photosynthesis and respiration, whereby air channels transport carbon dioxide to cells where it is converted to sugars and energy, and oxygen is released through stomata. How can we breathe with a leaf? How can we experience liquid root breath? During the workshop, participants are invited to don a virtual reality headset and engage with the Planting Disabled Futures project, a virtual reality/community performance experience that brings you close to bark, roots, to tiny tree spiders and microcosmic life. This project incorporates many community contributions – creative writing, videos, audio journeys. During our workshop, we will create a short video of our breathing bodymindspirits alongside plant bodymindspirits to add to the project’s offerings. This more-than-human experience of respiration invites us to attend to alternative experiences of breathing that involve our bodies of difference. As Naomi Ortiz notes, “Crip ecologies are living, breathing spaces of conflict and creativity,” and to this end, this guided workshop will explore the breathing spaces of flora in order to apprehend breathing differences and experiences in the human sphere. In dream journeys and open writing, we will dream new futures of living with toxins, forms of complex nurture, queer mergers and joyful contact. While this workshop will appeal to creative writers who are interested in disability studies, Mad studies, critical plant studies, poetry, and science and nature writing, we also actively welcome those scholars who wish to experience creative practice as ways to support their critical practices.
June 9-13: "Planting Disabled Futures: Disability Culture’s Altered States." International Federation for Theatre Research, Cologne, Germany (online)
June 4: Planting Disabled Futures presentation as part of XDance inclusive dance Festival 2025 (Helsinki, Finland/Madrid, Spain), panel with Raffaele Rufo, Maria Huhmarniemi and Jared Gradinger, 18:00 to 19:30 (EET), online
May 15: Guest in FA/CRTE 2400: Land-based Art and Technology summer school, Creative Technologies Program School of Art, Media, Performance and Design, York University, Canada (online)
May 11, afternoon: "Planting Disabled Futures - a virtual reality ritual," an intimate gathering at USC, Media Arts + Practices PhD space (in person).
This crip intimacy installation invites you into a world of healing plants cultivated by disabled peoples’ embodied ways of knowing. Come, try out a headset, hold a plushy critter, and become entangled with the ways we as disabled people honor and engage with plant elders.
May 10: Touch Aesthetics Activation, by the Leonardo CripTech Incubator and ASU Narrative & Emerging Media Program.
Join artists Vanessa Cruz, Selwa Sweidan, Olivia Ting, Antonella Mazzoni, and Petra Kuppers in exploring the intersections of disability, haptics, and immersive storytelling. Pieter Performance Space, Los Angeles, 5.30-8.30 (in person)
April 9-12: Just Tech Fellows Retreat, Brooklyn, and two Planting Disabled Futures houseparties, in Harlem and the East Side (in person)
February 2025: Release of first Fly-Through of our 3-D Tree world, with a glimpse of a 360-video portal, and a 2-D portal world, February 2025. Development/3-D Design: Daniel Vincent with Sara "Dari" Eskandari. Sound art by Mikel Mwalimu-Banks, Gregory Kage, EM Gong, and Richard Anderson. Performer in 2-D video: Akhila Vimal, created while Petra was artist-in-residence at the Huntington Botanical Gardens, California, May/June 2024.
Call for work by Turtle Disco/Olimpias people, Fall 2024: The Planting Disabled Futures project is looking for your contributions, to fill portals in our gorgeous virtual reality 3-D tree. From August 2025 onward, our tree will tour as part of a Crip Cave, a community performance invitation of virtual reality play and audio dream journeys that centers encounters between disabled people and plants. Think delicious touches, open play, more-than-human erotics, new futures.
We are now looking for 5-10 additional art works to populate portals (could be 3-D still or animated content, 2-D films, 2-D art works to crawl over, audio clips of ambient sound, or poems to record). Every selected contributor will be paid $200. The work will be lodged in the tree with audio description/captioning, as is appropriate for the work. Together, we will celebrate our (bio)diversity!
No misogyny, racism, anti-trans-work, non-consensual violence, or hate speech. Keywords: Ecosexual/Anthropussy/Sex and holes and soil/Compost, regeneration, degeneration/Alter kin/Microbiomes: animals in our bodies/in the soil/Inside/outside permeability/Dirty squishy muddy marshy unclear demarcations of the most delicious kind/Hibernation/Holobiont/Yummy sounds/Symbiotic/Non-gendered nature/Erotics of communing/Embodied/sensory/sensual politics
Promo Reel with Design Brief, invitation for collaborators - students and artists, Fall Semester 2024
ATHE/Association for Theatre in Higher Education, Atlanta, Georgia, August 2/3 2024, Botanical Garden, in-person: short score encounters
MELT/Movement Research week-long hour-per-day engagement, Monday-Friday, July 22 - 26, 2024 | 12-1PM EDT, sliding scale, virtual: Planting Disabled Futures. Let’s dance with plants – lying down, sitting up, taking space or creeping/jumping off the walls. In this week, we’ll go on dancerly dream journeys and visit with houseplants, street plants, trees we touch and faraway trees, plants on other planets. Who are you, plant being? What wisdom might you care to share? What dances happen where we meet? Going slow, spreading wide and deep, balancing light and dark, sharing resources, and water, water, water. Using movement, writing, a bit of drawing, maybe some sounding, we will explore environmental queer narratives, dance with/as unnatural plants, find resiliencies and healing pleasure.
Huntington Botanical Gardens residency, May/June 2024
The Planting Disabled Futures Project is supported by the Social Science Research Council’s Just Tech Fellowship, with funds provided by the Ford Foundation, MacArthur Foundation, Surdna Foundation, and Democracy Fund.
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