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Sean is an artist and spatial practitioner working across contemporary art, spatial practice, and civic engagement. His practice integrates sculpture, moving image, cartography, and site-based intervention to examine relationships between land, water, architecture, and power. Grounded in archipelagic and oceanic ways of knowing, the work approaches place as an interconnected familial, ecological, cultural, and political system rather than a fixed site.

Sean’s projects are realized through exhibitions, installations, public artworks, film and video, and long-term spatial and civic initiatives. Situated within the expanded field of sculpture and in dialogue with land art, cartographic practices, and institutional critique, the work treats form, site, and research as inseparable. Sculptural and moving-image works often function as spatial propositions—testing how materials, maps, and architectures can register historical erasure, environmental transformation, and alternative futures.

A defining aspect of Sean’s practice is the extension of artistic inquiry beyond the exhibition context and into the place-based conditions it addresses. Through their civic practice After Oceanic and the grassroots nonprofit Hawaiʻi Nonlinear, projects are developed as applied, durational works that embed artistic methods within real sites, communities, and governance frameworks. These platforms are not just ancillary professional roles but primary structures through which the work’s spatial, ecological, and political questions are enacted and sustained over time—where the transformations proposed by the artwork become materially and socially operative.

Sean’s work engages sites shaped by settler colonialism, militarization, and extractive development, often focusing on infrastructures of water, land division, and urbanization in Hawaiʻi and across the Pacific. Imagination operates in the practice as a practical tool, supporting forms of repair, stewardship, and collective responsibility at human and regional scales rather than functioning solely as symbolic representation.

Sean has presented work in solo and group exhibitions, public commissions, and biennials in the United States and internationally, including major museum contexts and triennials. The practice has been supported by artist residencies and fellowships and has been written about extensively by art historians, architects, and cultural critics. Sean has also designed and taught courses in leading university and public forums and serves in cultural leadership roles in Hawaiʻi. Writing and research by and about the work appear in scholarly journals, exhibition catalogs, and public platforms.

Informed by intergenerational, familial, and matriarchal relationships to Hawaiʻi, Sean’s practice understands art as cultural infrastructure—capable of holding historical complexity while contributing to long-term ecological, social, and spatial futures.