Everything That Was Destroyed (2026) reflects on the terms 'witch,' 'savage,' and 'terrorist' within western narratives.

From the formation of europe as a political project—shaped by the witch hunts as a key mechanism for organizing centralized power—to the first contact with the so-called 'american continent', and into contemporary episodes of warfare and colonial looting; these figures have repeatedly positioned themselves in tension with hegemonic narratives and their legitimacy.

The work explores the points of contact and rupture between these figures in an unsystematic, anti-academic way, through scenic mechanisms that range from laughter to unsettling discomfort.
 

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