My artistic practice is invested in physicalizing the complexities and possibilities at play in projects of togetherness. I situate my work in the expanded field of choreography, encompassing performance, video, installation, sculpture, scores, and experimental pedagogy. I approach choreography as a relational medium in which each performer is a community of selves and various forms of history and matter. My primary material is the body as a source of affect and multiplicity. Taking a psychosomatic approach, I allow form to emerge from energetic states and behaviors. I test the limits of what makes us human, asking “what constitutes a body and what can a body do?”
My work is articulated by an aesthetic of awkwardness, filled with moments of contradiction, dissonant rhythms, and intimacies that don't quite fit. In various pieces humans adopt the social behaviors of dogs, cash is exchanged on stage, a hug transforms into a violent gesture, and a person directs a group as to how they would like to be abandoned. If injustices are passed along through unquestioned modes of relating to each other, then awkwardness serves to make us aware of the invisible codes that condition society.
My intention is to unsettle the social codes of encounter by proposing alternatives. Using Derrida's definition of a political act as “the settings of artificial relations between people,” my choreography takes a nano-political approach by elucidating subtle dynamics as an allegory for the larger political strokes at play in modern life.
By presenting situations that are simultaneously intimate, humorous and disturbing, my work reveals a precarious dimension of humanity. I offer my audience experiences of connection through bewilderment, where logic becomes scrambled so that new worlds can be imagined.