My artistic research is rooted in the post-modern dance legacy of reimagining what counts as dance, where dance happens, and the nature of choreographic form. My process leads with an attitude of “what is possible?” that supports a commitment to choreography as an artistic experiment. Inspired by my training in release-based movement, Contact Improvisation, Bartenieff Fundamentals, Yoga, and other movement modalities, my choreography foregrounds deep attention to somatic presence as a cornerstone to my movement research and then moves through rigorous physical experiments in resilience, abstraction, and form. I frequently turn to improvisation as both a choreographic methodology and performance outcome that foregrounds an embodied commitment to “unknowing” that can challenge traditional movement hierarchies and reconceptualize the body’s possibilities for connection with others. Over the years, these re-imaginings have allowed my work to navigate a spectrum from traditional stage performance to multi-media installation, from community work to site-based experiences. I count genre-bending artists like Trisha Brown, Jennifer Monson, Liz Lerman, Ernesto Pujol, and many others as inspiration for my work. 

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My artistic career has allowed me to work with people of diverse ages and abilities in professional, academic, and community settings, and this breadth of engagement has developed my interest in horizontal structures for making, embodying, and viewing dance across disciplines and populations. In addition, the body as “site” and site-based movement experience are ongoing threads in my work. These two facets of my work have allowed me to develop a highly collaborative artistic process that brings me into creative dialogue across a range of disciplines: visual art, film, music, ecology, biology, entomology, and more. Some of my work begins with a feeling or physical state, while other projects lead with a more analytical approach. For example, how can a physical investigation of the water recycling process in urban wetlands lead me towards greater connection to myself and the other beings around me? Or, in the inverse, how does a choreographic exploration of personal pain and disorientation lead me to better understand the mechanics of weight and gravity in the body? Moving between methods that honor felt states and more investigative approaches allows me to both ground my work personally in the body and expand it into new disciplinary realms and audiences. Beyond the artistic outcome itself, I strive for my work to open up space and time to reimagine new practices for living, revealing through movement how art and artmaking can express interdependence and respect for both human and non-human.

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