I have lived most of my life in the prairies and high-alpine deserts of Colorado, USA—land the Ute people may have called Blue Water, Blue Earth, or Water at the Blue Earth. My childhood unfolded in wide, breathing spaces—tall grasses, steep mountains, and the slow meander of rivers and lakes. These landscapes taught me the practice of stillness, silence, and solitude, shaping who I am and how I move through the world as a dancer.

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. They are a Sifting process. In a way, dance is the ontology (way of being) and epistemology (way of knowing) through which I research life.

I consider my practice transdisciplinary—trans meaning across and beyond. While I come from a formal dance background, my interests extend far beyond traditional performance. I am interested in co-creating work that engages social change through collaboration and improvisation. This approach allows for a deeper interrogation of systems, relationships, and narratives, aiming to produce interconnected and nuanced outcomes. By moving between dance, social engagement, and visual art, I seek to challenge fixed boundaries and invite emergent ways of thinking, seeing, and being into community spaces.

Performance studies is a 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 work in two distinct capacities as an artist. In my personal creative practice, I work through the mediums of dance, film, and collage. As my teacher Rouzbeh Rashidi describes; “the medium of film is not necessarily a communal experience; it can also be the ultimate state of detachment, solitude, and a profoundly personal experience”.

Collage serves as the conceptual bridge between dance and film in my practice, functioning as a method of deconstructing and reconstructing both visible and invisible elements. This methodology informs my choreographic processes as well as the development of my video and film installations.

In my socially engaged work, I foster integrative embodied resilience for trauma through movement education, community building & performance work. My personal experimental practice and research forms the foundation that enables me to work publicly and socially in this way—a commitment I have sustained in various ways since 2004. This work exists at the intersection of art, healing, and social transformation.