I am supremely interested in creating work about what it means to be human. From the philosophical to the mundane, from the spontaneous to the habitual, from the macro to the micro, I feel that it is all worthy of choreographic exploration. Each of my dances brings new questions into the studio, exploring how they manifest and alter states of being, and ultimately, how my own experience is relevant and relatable to those around me. The spatial construction and design of the works is an integral part of the development because the underlying concept regarding each work is expressed through the patterning and relationships between the bodies, and how the body utilizes and transforms the space it inhabits.
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Did you catch that? (2019)
This work is a compilation of improvisations in movement and spoken word, sprinkled with choreography. It is an investigation into how we arrange ourselves, our objects, and our conversations in relation to the spaces we inhabit. The dancers exist in their individuality, yet momentarily embody strangers within their memory. Essentially, we’re questioning: the difference between improvisation and choreography, private and public, empathy and architecture. Based on our past experiences and where we’re coming from, how much do we choose to share of ourselves? We’re discovering that these existences aren’t disparate; they continuously shift between each other.
The dancers morph into and out of architectural structures by tracing, measuring and arranging themselves, simultaneously making choices and getting interrupted. In this, questions arise: How do our bodies fit together? How do our words, memories, and ideas align? Inversely, how do they exist separately? We’re investigating the polarity of these ideas, especially that which exists between.
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How about, I try (2017)
Solo work with live music composed and performed by Seth Alexander. The piece includes text excerpted from Part of Eve’s Discussion by Marie Howe, as well as original text created in collaboration with writer Joshuwa Riggs. The work began with a question stemming from the relationship between words and movement—what can one form of communication express that the other fails to? When placed in conjunction, how do the forms aid or disrupt each other in conveying emotions, ideas, and attitudes? How About, I Try is a meditation on the inability to find full expression through only verbal or physical language.
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NinjaKungForestKitchenSupplies (2017)
From improvisations and collaboration.
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Unclothing the Elephant (2016)
With a cast of seven dancers, this work exposes the fundamental and structural elements of support systems. Inspiration for the work stems from ideas, thoughts, interactions, and reactions that reside deep within the unseen soul, but also exist through common knowledge.
Dry (2016)
This duet is an illustration of the inner workings of a forced relationship.
This duet was created at Bates Dance Festival and performed in the New Works Young Choreographers Showing.
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Earlier Works:
For Instance (2016)
For Your Nerve (2015)
Because We Need (2015)