Her practice began in 2012 with a project documenting the changing seasons in Claude Monet's garden at Giverny, France. Between 2013 and 2018 she compiled impressions of rising and setting suns into nature collages, culminating in Odyssey, a 23-minute video.⁴ Since 2019 she has drawn on nineteenth-century landscape painting and 1970s science fiction to imagine altered and synthetic landscapes, in works such as Immanentia, 2021,¹ and Futurum Febris, 2023, made with the poet Denise Duhamel.⁵

In 2013 she founded We Are Museums, an innovation lab working on social, ecological and technological innovation in museums.² In 2021, during the Hic et Nunc era, she began minting her own artworks after an article by the artist Joanie Lemercier convinced her that Tezos was an eco-conscious blockchain where climate and social activists could gather.³ She co-organized Hic et Nunc's first community hackathon, the Hicathon, with SOMATICBITS,⁶ and in September 2021 co-founded a\terHEN with the artist Patrick Tresset as a curatorial platform responding to the marketplace's speculative turn.⁷

In August 2024 she launched Blueshift, a curatorial studio focused on ecological digital art practices.² That year she was invited by the digital art advisor Georg Bak to organize the Museums in Web3 portion of the Digital Art Mile at Art Basel, where her artwork Nowhere To Run appeared in a group show benefiting the UNHCR.⁸ For Blueshift she curated “Soft Mutations” at ArtVerse Paris in late 2024, reducing the show's carbon footprint by choreographing which screens were switched on at any time.⁹ In 2025 she co-curated “Down The Silicon Meadow” with Anne Schwanz of OFFICE IMPART³ and “On the Edge of the Horizon” with Tina Sauerlaender of Radiance VR, both exploring coexistence between nature and technology.¹⁰