Working through and directing thoughts and ideas into embodied expression is my joy, where I lose myself in the pursuit. Dancing for me is like tapping into cause and ritual both rooted in ancient belonging and the present expression of the immediate now. A physical language has revealed itself through the years from this compass, and also through a layered background, a developing self-practice rooted in improvisation, and having had the opportunity to work and learn with many choreographers and movers of various backgrounds. This has allowed me to distill and confide in my value system in creation, in movement, and in dancing.

Creating intuitively is to channel my reflections of the natural world and the intersection of our collective solitary human condition. I like to compose on stage from the same elements that I observe in life unfolding and contradicting around me, and in all of us. The physical language that interests me in creation has to do with reflecting that sort of disruption that longs for harmony, where clarity can intersect commotion. I imagine I aim to formulate a sincerity of my experience in what it is to live, where we must integrate what is disharmonious and misunderstood as we move towards ideals.

This forms a groundwork of what I aim to evoke in the physical poetry of bodies, of composition in space. Our deviation, contradiction, fragmented parts coincide with simplicity, purity, coherence. Starting very physically, with an influx of improvisational frames, tasks, and movement scores invites instinct and physical intuition into the space, both mine and yours. I draw from a wide variety of multidisciplinary inspiration for other source points to embody our dancing — books, film, visual art, physical narratives, etc. that inform our imagination and corporeal magnitude.