Interdisciplinary and “non-disciplinary” artist Jota Mombaça (pronouns: she/they) defines themselves as a nonbinary travesti of color, Latin American slang that has been reappropriated by transfeminist activists and subjects as a local, political, gender identity. The term reflects the artist’s interest in the tensions between desires for opacity and drives toward self-preservation as experienced by radicalized trans artists. Mombaça’s work stems from poetry, critical theory, queer studies, political intersectionality, anti-colonial justice, and the redistribution of violence. Their artistic research engages both the continuing traumas of the Transatlantic slave trade and the rapidly increasing impact of climate crisis. Driven by the tensions of these urgent subjects, their work traverses topics such as displacement, environmental racism, gender disobedience, and time travel. Mombaça’s earlier work investigated the relationship between monstrosity and humanity and the tensions between ethics, aesthetics, art, and politics in the knowledge productions of the global south. Through performance, critical fabulations, and situational strategies of knowledge production, the artist speculates on what comes after we dislodge the modern-colonial subject from its podium.