E.L. Guerrero

is a


A pixel portrait depiction of a person with long pink hair, glasses, wearing a blue collared shirt

I work with the interdimensionality of identity, its cartographies and topologies within the physical and the virtual, how our identities in these two spaces are constantly being bent, stretched, and contorted, as the boundaries between them blend into each other, so do we; how we are informed by our geographical, mental, and cultural migrations. It is social documentation by way of personal archiving: of getting lost, being found, and navigating back home. In my own circumnavigation of my identity, I fumble with my memory, materiality, experience, and nostalgia. I find that my destination is where I started from, and that is where I begin.


E.L. Guerrero (they/she) is a media + software artist and developer. As a first-generation Filipino immigrant, they look through the lens of both a diasporic and native perspective. They work towards forming online and offline networks to access other facets of human experience, exploring the intersection of Filipino identity with technology and art that centres community care. Their practice assists in collective healing from systemic inequalities perpetuated by all normative forms of violence and oppression. They lean on decolonial and anti-imperialist teachings and values, and follow the cycle of coming from and returning to the land to create something new and ancestral.

Land Acknowledgement

As a settler-immigrant to Turtle Island, I recognise and acknowledge those who have come before me and whose land I currently occupy: Tkaronto, the land of the Haudenosaunee, Anishinabewaki, the Wendake-Nionwentsïo, and the Mississaugas of the Credit First Nation. I am committed to affirming and honouring the Indigenous sovereignty, history, and experiences of the original stewards of this land.

As a native of the archipelago collectively known as the Philippines, I stand in solidarity with the Indigenous Peoples, and condemn the blatant human rights abuses and violations against them, along with the careless overexploitation of their ancestral lands through illegal land grabbing, excessive mining, and deforestation.


[email protected] (PGP)


Living (Un)machines Tiny Tech Zines, Los Angeles, 2019
Ongoing zine series collaboration with Amy Zhou exploring and decolonising the Asian body as both metaphorical and literal machines. Purchase
All Girls Canzine, Toronto, 2022
Zine collaboration with Keet Geniza on queer identity and culture while growing up in all-girl Catholic high schools in the Philippines.
What We Talk About When We Talk About (Our) Language Public Knowledge Project, Barcelona, 2019
Talk I gave at the 2019 PKP Conference on how to address problematic language and terminologies in technology and scholarly journals. Slides
Play Over Paranoia: Cybersecurity and Data Bodies (as LANE Digital) Xpace Cultural Centre, Toronto, 2020
Workshop on the impact of datafication and how our information is used, stored, and shared by governing bodies in digital spaces. Zine
BOOKBOOKAN NA!! (as Makawalanghiya Distro) Kwago, Manila, 2022
Seasonal virtual book club in a pixel MMORPG.
Our Networks, RE: Infrastructures Toronto, 2019
Conference about the past, present, and future of building our own network infrastructures.
Damage Labs (as LANE Digital) Dames Making Games, Toronto, 2020
A game/creative studio startup incubator that focuses on ethical labour frameworks, alternative financing, and cooperative structures.
P2P Residency, Distributed Web of Care C/O Digital, Berlin, 2022
A P2P (Peer to Peer) residency where artists, writers, technologists collaboratively imagine the future of the internet outside a technocratic, capitalist environment.


Hello Navi
A digital playground of small web projects.
Makawalanghiya Distro
A disaporic Filipino zine distro with Keet Geniza.
Waiting For the Enemy
Passages from my grandfather’s memoirs defending Bataan in the Philippines during World War II.
(Even) Smaller Seasons
A daily calendar app of the 72 microseasons of Japan. Based on the Small Seasons guide.


This website is not fully accessible. I have a lot of work to do in making this website compliant with web accessibility standards, but even then, I know that no one experience is the same, as each person’s needs and preferences are different. Instead, I aspire to do better by trying to make this website experience as accessible, usable, and performative for as many people on as many devices as possible.

I am working towards conforming to the Web Content Accessibility Guidelines (WCAG) while constantly educating myself on best practices for a more positive and beneficent experience for all.

Currently these are some known accessibility issues that I would like to address in next iterations:

  • Navigable with a keyboard, screen reader, or speech recognition software.
  • Options for turning off animation, enlarging or changing fonts, and changing colours and/or contrast.

This statement was last reviewed on 27 September 2022.

Accessibility statement inspired by OA.Works, Tom Hackshaw, and As It Should Be