I am drawn to raw, experimental and introspective works that challenge us to move beyond ourselves and take risks. I think a lot about transformation—that elusive, nameless thing that causes a hesitation, a stirring within, and sometimes, an absolute hijacking of the body. What unnerves us often compels us to lean forward and listen.
I trained as a dancer, but my investigations often disrupt the training within, gravitating instead towards the wild and uncontained movements of my childhood. I view our socio-political-corporate world as a vehicle for the industrialization of the body which encourages and often demands subservience and self policing; this creates disconnection and has the potential to weaken and break down the spirit. I believe that movement has the potential to loosen and eventually break those strongholds, reconnecting us to the very elements that comprise our humanness and our power.
My work ranges from serious to campy, highly choreographed to completely improvised, private to community oriented. Sometimes I have a strong intention to create political work; other times I don’t. There is no hierarchy in the creative process; I invite emotion, excess, narrative, objectivity, reduction, abstraction, conceptualism and non-narrative into the room. What links my work through the wide range of modalities I move within is a curiosity for the body and investigations that involve research and/or performance phases.
I view our bodies as the keepers of all things. How do we navigate these complex and varied landscapes as individuals within communities? How do our bodies shift and morph as we move through this life? What does our body hold for us? What does it keep from us? What do we pick up? What do we leave behind? What seeps in unbeknownst to us? What challenges us? Changes us? Uncovers us? Undoes us? These questions are often at the forefront of my investigations.
I love challenging projects and therefore work on a wide range of ventures, from collaborations with artists across disparate mediums to building structures that house our moving bodies to creating installations within old decaying spaces. Every place I temporarily inhabit influences my work—the architecture and mood/aura of a building, it’s sounds, light and shadow, as well as what is housed within my own body, such as the unconscious, dreams, memories and everyday experiences. It is the sensorial stimulation and confluence between these elements that stimulate, provoke and ground my investigations.