Examining identity, diaspora, and colonial legacies, Sabrina explores hidden and silenced histories, drawing on her experience as a deaf person advocating for disability justice. Her practice foregrounds the politics of visibility, asking who is remembered, who is erased, and how communities reclaim their narratives.

Using her Mauritian ancestry to confront exclusion in digital spaces and the historical erasure of Indian indentured labour, Sabrina asserts her ancestors’ identity through her family photographs, which date from the 1950s to the 1990s. These images form the foundation of a personal and collective archive that resists disappearance. Together with Mark Allred (with whom she occasionally collaborates), Sabrina uses an AI model she trained on these archives to reconstruct a fractured history, responding to the scarcity of visual records and the gaps left by colonial documentation.

‘It’s an opportunity to restore what has been lost and to retell stories’, says Sabrina. ‘It is a way to say: We are here. We exist in the digital space too.’ Her work challenges the assumption that digital technologies are neutral, instead revealing how they can be reshaped to honour marginalised histories.

Disrupting AI image generation, Sabrina has built an iterative method that layers AI with collage and digital painting. The final works lean into AI’s glitches, maintaining a sense of imperfection that blurs fact and fiction. This aesthetic of distortion becomes a metaphor for the instability of memory and the partial nature of archives: ‘Something’s always not quite right, and histories are distorted in a way as well.’ Through this process, she transforms technological error into a space for reclamation, imagination, and ancestral presence.