I make beauty out of the unobserved, the overlooked. I have created dance in bedrooms, in very cold lakes, south of the equator, and in various types of closets. I remind us that we are human, of the earth, natural, ugly. These habits, this way of working, urges my audience to sense the fears and curiosities buried deep within themselves. 

 

I put the most private workings of our psyches on marley-covered floors with velvet curtains and stadium seating abound. I analyze my biases into oblivion, then return to glorify the nakedness of the lives we all lead. I believe in intellectual and emotional exhaustion, physical efficiency, and entertainment that is purposeful and substantive. The pursuit of these beliefs stabilize myself in the knowledge that dance is a vital element of culture that impacts all of society. It reminds me that my life work is worthwhile. 

 

I have been researching how we can overwhelm ourselves in our roles as observers and feeling souls. This often takes the shape of negotiating the hierarchies of our identities, such as prioritizing the person on stage rather than the dancer. In the studio, I play with the depth in meaning and the necessity to express an honest history that resides within my collaborators. I utilize improvisational scores to develop choreography. I strive for specificity in physical expression and I am fascinated by building worlds in which my dances can reside. These worlds are multisensorial and interact with senses of smell and sound rather than sight alone.

 

I have an innate tendency to stick things together in odd ways, to rationalize the irrational, to view the world from all angles, and above all to connect humanity through what makes us individual.