Statement

As a choreographer and director, I am interested in orchestration and amplification. If each medium involved in a project is one layer of reality, then my job is to tether them all together. In my work, I refuse to ignore anything. And I certainly refuse to believe that my reality is the only one at play. 

I make work to understand the rhizomatic world as pluralistic at every moment. Even if I am sitting alone in a set, stage, gallery, et cetera, there are still conversations happening within the environment. The plants, the furniture, the history of the place itself, the amount of time I have spent there in comparison to the fresh eyes that will be entering are coalescing constantly. There are the artists journeying to the place we will all work together, and the conversations they are having individually in their minds. I have crafted a structure that is porous, vacillating within the crevasses of action, reaction, acknowledgment, and acceptance. This scaffolding frame the body of artists, like a home, encapsulating layers of reality, fantasy, and everything in between. 

My goal is to listen at every moment and speak while listening. My goal is to take care and remember that art making can be a void of missed opportunities — the world I have built is structured to never miss those opportunities. 

I aspire to be one very large eye, holding a cohesive vision that crystalizes the parts to work independently. The truth is the role of direction is shared, and varies in everyone — I look to work with artists guided toward unpacking their personal directional abilities. 

This gestalt is not an absolute but the result of nurturing every physical, metaphysical, and mental body. 

I hold myself and all parts of myself accountable constantly as a director. And I ask my collaborators to do the same thing. I am excited to be challenged in ways I could never expect. I am surrounded by commitment to something greater, and larger than life. There is a hive intelligence that is possible in any work, and I am energized by the path there. The result of these high standards is palpable, penetrable, and precise. 

My studio process initiates the birthing of a collective memory. The moment I begin a work is the moment a new body is developing, and this body has memory, bones, fluids, a life to accomplish, and a map to locate.

If I am aiming to create vast landscapes with candor from a multiplicity of personal experiences where everyone is visible, then I must be challenged to be quiet, to be loud, to negotiate, and mediate. I take my role in direction with solitude, seriousness, and jubilee. On the topic of peace, I am sensitive to my being a vessel generating a topographic body sculpting in collectivity.”