I am a scavenger: a feminist, an artist, a scientist, a parent, a holobiont. In 2012, I learned that the human body was 90% microbial. I was transformed: I realised I am not becoming, I already am; already a teeming, seething crowd, always already multiple, always already sympoietic. The vertigo of this understanding was utterly thrilling. Rather than sublime horror, I experienced profound relief and joy in the queer fecundity of my myriad body. Using my training in biotechnology, microbiology and contemporary art, I explore the aesthetics of caring for nonhuman organisms, bodies as queer ecologies, and how radically diverse life and non-life manipulate and orient each other. My understanding of the aesthetics of care has been deeply influenced by Ionat Zurr, Kira O’Reilly, Cat Jones and Svenja Kratz, who are pioneers in art/science. This paper discusses my artistic research with microbes which investigates the gendered and biopolitical relationships between humans and microbes. I explore microbial Umwelten, traversing microbe-human-planetary scales and taking seriously the agency and response-ability of the microbes in whose worlds we live. Untangling such kinships through trans- and interdisciplinary methodologies and collaborations between theory and practice, discourse and being, knowledge and experience, art and science, is usually not smooth sailing. Like queers, microbes and microbiological art is often misunderstood. Living and non-living flourishing hinges on the stories we tell, and stories told about microbes are of control and death. However, life is only possible because of microbial kinshipping.