I am a philosopher, writer, teacher, and collage artist interested in formal experimentation. My creative efforts are driven by a desire to think-feel the world differently than before, and to open up new spaces for intimacy, friendship, and political solidarities. I call this mode of thinking-feeling and art-making “thought collage;” in drawing on the aesthetic of fragmentation, I attempt to push the limits of our perception and our thinking. I view collage and décollage as aesthetic and philosophical activities. Especially important is my conception of collage not only as an additive practice, but also as a subtractive one. This is the logic of the mise en abyme: to add is to take away. Décollage enhances collage’s subtractive features, and brings attention to the substrate onto which the collage has been pasted. I revel in the multiple meanings of substrate: paper, canvas, aluminum, cloth, wood, stone, brick, an old book to be altered, a notebook, the side of a building, the earth itself. In geology, substrate refers to the underlying layer of rock beneath the soil. In working with substrates in my collaging practice, I also rework the philosophical ground of my thinking. To rework the substrate is to rework the limits of my knowing. I am especially interested in reworking our conceptions of gender and sexuality, with a special focus on ecological issues and the ongoing devastation of our planet. I have published a book of collages, These Survivals: Autobiography of Extinction (Duke University Press, 2025), that explores the connection between the time of intimacy and geological time. I am especially drawn to using collage to alter books. Three of my altered books have been acquired by Bryn Mawr College for their Special Collections. I regularly offer workshops and collaborative opportunities for installations of fragments at universities, colleges, and community art venues.