Exploring the juxtaposition of tension and release, finding abandonment within detailed movement and clarity in flowing shapes, the physicality in these contrasting qualities is ever present in my work and personal movement practice. I am able to process the complexities of the human experience through the intricacy of dynamic, quick, gestural movement, placed beside full, expansive phrase work that carves through spaces. Creating material that explores these concepts, I encourage dancers and collaborators to investigate their relationship to the space and each other as they move.

My work centers around themes of vulnerability and memory. With emotionally charged work coming from a range of feelings, I create from a place of reflection that involves journaling and moving from these written words. Regardless of whether movement or sound comes first, music plays an integral part in my process. Deconstruction of the movement to highlight the intricacy and layering of the sound score allows the body to become one with the music, transforming and transcending through the space. The athleticism and emotions of the dance are further amplified by the sound that fills the space. Passion for movement is what drives me and I encourage dancers to move from feeling, finding purpose in each movement, as they share with one another and their audiences. Channeling what they feel in the exact moment they dance. As emotions shift over time, I encourage them to continue moving through what they feel in real-time. Taking the feelings from an internal space to an external embodiment.

I seek for those who witness my work to feel. Taking the audience on a journey, through memories or a real-time processing of emotions, regardless of whether they can directly relate to the feelings that the dancers are moving from or not, I desire for people to leave moved by the moments shared in the space.

With performance art unable to be shared the same way twice, I question what I leave the audience with: How can each performer’s experience shift daily? What remains constant and what can be approached with more freedom to allow each performance to feel new and exciting, keeping the play alive in the work? How can we constantly dig for more in the art-making process and embodiment of set movement? These questions inspire me to create with curiosity and expand my capabilities as an artist and performer.