My work is about intersections: overlaps between corporeal exploration, creative space-making, intersections of digital and physical media design, feminist theory, and tangible tethers between audience and performers. What most interests me is art that engages in structures of power and play—work that informs, listens, constructs, reiterates, alternates, expands, and illuminates the world in which it is curated.  By existing in a world of beautifully controlled chaos which is bold, honest, humane, and powerful, the work is simultaneously gritty and luxurious, grimy and indulgent.

 It features many art-making styles but grounds itself in embodiment. My choreography—meticulously detailed, physically rigorous, and spatially complex—employs a movement vocabulary that includes both contemporary techniques and commercial dance forms. I bring my fluency in a wide range of choreographic options and pedagogical strategies to a process that is actively informed by the bodies in the room, seeded by our stories. The power of eye contact can change the paradigm and power balance of spectatorship, inviting the “audience” to be actively engaged. Empowered, autonomous bodies and people are key to the way I make art and what is presented.

It is collective, feminist, and inclusive. I build bridges instead of walls, with and between bodies. My art centers female, queer, non-traditional dancer bodies as the pivot for the work. Visibility in art is visibility in life. I am inspired by female/feminist artists and authors, interactive media makings, dance theatre modalities, and social justice activism. I interrogate and physicalize the way the body is policed and made visible in culture, literature, and dance studies in an effort to ground theory and real-world experience in the body. I am interested in how large groups of queer/female performers can harness energy and legitimacy en masse, the way protests and social movements do. Bodies who are ridiculed, catcalled, harassed, and policed publicly gain power in the strength of community, and community engagement is the home-base for relevant art.

It demands investment from an audience. I participate in an ongoing conversation about bodily autonomy (among both performers and audience), power, and what truly differentiates interactive from immersive art-making through embodied forms as well as various technological interventions. I often use the terms audience and participant interchangeably to problematize the way they “perform” their role as either active agents in the plot or simply recipients. I believe dance has a responsibility to do more than entertain; it has the ability to ask the audience to take a stake in the mission of the choreography. This stake can be literal, responsively as a participant, or reflective, through engagement in the content. The power of the work is embedded in the bodies of the powerful, assertive performers who create an ephemeral utopian dance space on film, live on stage, or in collaborative installations. I seek to leave a resounding resonance.