Who I Am
I work at the intersections of art, critique, and social reflection. For me, art and critique are not opposites, but tools of self-determination — and ways of making colonial and Eurocentric systems of thought visible, questioning them, and deconstructing them. My artistic practice moves between abstraction, expressionism, and surreal visual landscapes. I work with graphic elements, fragments, typography, and influences drawn from street art. My works often emerge at the intersections where bodies, memory, social projections, and political structures meet. I am not interested in representing an objective reality, but rather in making visible its ruptures:
What is read before anything is spoken? Which images inscribe themselves onto bodies? Which stories remain absent?
What Shapes My Practice
I move between (emotional) intellect and intuition, analysis and vulnerability. My professional and personal positioning come together through art and writing in a practice of conscious disruption:
Seek Disruption
Alongside my artistic and essayistic work, I work as a political advisor on decolonisation within the field of international development cooperation. The intersection of political practice, academic analysis, and artistic work shapes my perspective and informs my practice.
Academic Background (Expertise)
I completed a Bachelor of Arts in Area Studies Asia/Africa (2021) and a Master of Arts in Asian and African Studies (2025) at Humboldt-Universität zu Berlin. My academic focus lies in colonial continuities, decolonisation, knowledge production, Indigenous knowledge systems, climate justice, ecocriticism, body politics, racialisation, and intersectionality. This expertise informs both my essays and artworks — never “neutral”, but always context-sensitive, critically aware of power relations, and attentive to structures of domination.
Personal Background (Experience)
I am a person living between categories — socially marked as Black and white — and it is precisely there that I find my language. I come from a working-class family, with Nigerian migration histories on my mother’s side. My surname, Steinberger, marks a German-Jewish lineage on my father’s side. I am racialised, non-binary and perceived as female, while also living with chronic illness and disability. This body is not merely part of my biography — it is also part of my analysis, my writing, and my aesthetics. I work from lived experience, not from above it. I understand my body as a subject within which my soul, thoughts, and emotions reside. My body is a surface of projection — both from within and from outside.
My body is read before I am able to speak.
I work with the perspectives that have been projected onto me since childhood. I work with the categories, assumptions, and prejudices of others. The processes of understanding and negotiating the place my body occupies — or is expected to occupy — within this society find their way into both my essays and my artistic work. Both are methods through which I process, make visible, name, question, and interrupt histories, experiences, and presents — while exploring how our ways of thinking are formed, reinforced, and transformed.