I am drawn to the unseen—the underside of the world we allow ourselves to perceive. I feel compelled to dive into the darkness surrounding us, because I have found that it is within the shadows that true beauty appears—beauty that has no right or privilege, beauty that is weathered and worn, beauty that is borne of memories and depth, beauty that will not, or cannot apologize for itself.

 

I am attracted to live performance that is undeniably honest: guttural, heart-wrenching physical assertion within emotional arcs that transition between subtlety and abrasiveness. My artwork tends to be heavy, layered, and conceptually nuanced. It is often narrative-adjacent, more concerned with the psychological and emotional context of a situation than with its plot—taking on the nuanced tensions of a dystopian scenario, time-traveling through moments in the aftermath of a tragedy, investigating the psychic lead-up to a breaking point, manipulating the power dynamics of complex relationships.

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I engage in interdisciplinary and multi-media performance and filmmaking, using technology and scenic design to create environments that contextualize, surround, and engulf the performers and audience. Yet, physical movement is my primary medium. I believe that dance is the art through which we can most closely tap into the human experience. The human body stands vulnerably on the stage, screen, or ground and is asked to experience, interact, witness, express, and relate to its circumstance. For this reason, I return again and again to embodied improvisation as a pillar in my creative process and performance work. I find that present, embodied exploration can serve art-making not only as a tool for sourcing material, but also as a mode of self discovery, pleasure, and relationship building between collaborators.

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I believe that the ‘solo artist’ is a fiction of individualism. Rather than a distinct individual, each artist is a fluid, ever-changing product of their interactions with everyone and everything else. Thus collaboration is a central value in my approach to the creative process. In making, I prioritize attuned working relationships and practices that affirm self and group trust. With each new project, I begin with the intention to create space for my collaborators to experience the depth of their emotions fully, witnessing the same in one another, together eventually inviting the audience to do so too. Humans construct reality together, turning stories into history, personal mythology into memory, and behavioral patterns into identities. In the making process, I engage with my creative community to honor the history, culture, and selfhood of each artist, while also collectively recognizing the fiction within those narratives. I believe that the simultaneity of that awareness can encourage the growth of individuals within community, as well as embolden their abilities to collaboratively take risks.

 

For me, there is no separation between art and life. I bring my full self to the creative process and I expect my collaborators to do so too: conflicts, flaws, and regrets, along with strengths, beauty, and wits. Only then can our audience experience what we share with their full selves.