This autoethnography explores the connections between institutionalized learning, creativity, and reflexivity, hoping to understand some of the many invisible ways that power works through ontological commitments, knowledge systems, and institutions and how that is all reflected in our bodies. It explores topics of conscious political engagement as a researcher, decolonizing and indigenizing research practices, drawing from nature-based expressive arts therapies in pursuit of alternate research practices, as well as methods and forms of representation. A growing body of scholarship recognizes the importance of embodied ways of knowing as central to learning and un-silencing marginalized perspectives (Vossoughi et al., 2020). Embodiment and arts-based practices offer critical and essential connections with Indigenous ways of knowing, which position our bodies in quest of ethical relationships with the world (Marin, 2020; Bang, 2020). Developing methods for axiological reflexivity in researchers through creative and grounded engagement with the phenomena of research data, researchers’ body, researcher identity, and lands/waters. Centering the body through a relational ontology encourages a deep interpersonal reflective journey in which knowing, doing, and being are inseparable aspects of the same process” (Bellefeuille & Bekikoff, 2020, p. 16), yet, such entanglements are rarely modeled and made public in the labor of academic writing and researching. Furthermore, the researcher’s body and creativity within the research process have not been widely centered as a topic of inquiry (Peppler & Davis, 2010). Inspired by Megan Bang’s contributions to the ethical and affective turns, my project aims to explore how axiological transformations reaching for the “good, right, true, and beautiful” (Bang et al., 2016, p. 29) can occur when researchers partner with their (more-than-human) bodies through intermodal, reflexive, and relational expressions of their research.