I approach dancemaking as a radical act of synthesis. With each new work, I invest in the intersections found between seemingly disparate ideas. I work towards distilling and refining perceived incongruence into concentrated, tacit, conceptual solutions. This includes the integration of philosophy and critical theory into dances.
Working in the studio, on stage, online, outdoors, or in a fabrication lab, I develop and employ collaborative, embodied methodologies. I subscribe to the principle that simplicity reveals interlaying complexity, and vice versa. I find myself paring away, streamlining, and removing the superfluous. The resulting experience is a space engaged by clearly designed, sensuous materials: bodies meeting light, sound, objects, and other bodies.
The human body, or a body of human bodies, is the acting agent for process and product. Bodies analyze, connect, and transform ideas into dances that simultaneously reach out to the viewer while the viewer reaches in. At this point, bodies are meeting bodies via dance, and new ideas are born.
As an artist I push towards ‘new-ness’, questioning its possibility and relying on research to innovate. This approach hinges on experimentation and risk-taking in body, concept, process, and performance. I work in a state of courageous choice making, audaciousness, and rigorous research through autoethnography, critical theory, philosophy, movement invention, choreographic structure, fabrication, and design. I utilize this methodology to widen my perspective, resulting in an artistic voice that is in conversation with our sociocultural environment. Rather than be a reflector of our cultural climate, I work to be a critical, curious, and compassionate contributor.