I dance as an act of cellular, spiritual, and artistic communication; de-influencing my body from the systems and stories of control that have separated her from nature. Transforming all experience into healing material.

I view the body as a landscape, wherein the beauty and trauma of the Anthropocene is being mirrored. A self-regulating ecosystem composed of self and non-self elements. A spinning ball on a floating river. The only truth is change.

The dances I make are much more like poems than dramas. They are the witnessing of something vital as it emerges within the present moment; a Sifting process. They are Embodied Acts of Resilience. In a way, dance is the ontology (way of being) and epistemology (way of knowing) through which I research life.

Performance studies is an interdisciplinary field of research that utilizes performance as a tool to study the world. Performance studies scholars research not only the artistic, but the cultural performances we take part in each day, albeit consciously or unconsciously. Much of our waking life is the playing out of a participatory myth, a cultural drama. What goes on behind the proscenium of the mask, in the back of our minds and within our bodies, remains underwater. The waving is what the water is doing, but it is not the water.

I choose to work in two primary capacities as an artist. I have a socially engaged practice and a personal experimental practice.

In my socially engaged work I focus on fostering integrative somatic resilience for trauma in individuals and in groups. This work takes shape through education, alternative & holistic counseling, group trauma healing, and public community performance work.

In my personal practice, I work primarily in the medium of experimental video and filmmaking.What I love about working with a camera is reflected in this sentiment by Rouzbeh Rashidi:

“cinema is not necessarily a communal experience; it can also be the ultimate state of detachment, solitude, and a profoundly personal experience. We are often lonely and alone when we encounter cinema and watch films, yet we persevere through this solitude.”

I think that the role of the camera in my work represents the role of consciousness in the human experience. A photograph breaks down reality into pixels in a similar way to how our minds make futile attempts to know what is unknowable. To me, the body, like the concept of god, is unknowable. This dance between my social and personal practice reflects an ongoing investigation of Self and Other.

And last but not least, my artwork is a reflection of my experience of being Autistic, which I view as a neurological and life-force expression shaped by sensitivity. Because I was born with sensory processing differences and the social-emotional challenges that accompany that, I have lived my life in search of sensory poetics. This experience has inevitably shaped my work as an artist and the way I move about the world as a human being.