In performance, the body in time is exposed—a body whose history writes its present and whose future constantly approaches. Real-time engagement with the body has held an interest for me for the last four years, and I have created work that I hope presented something unaffected and immediate, a vulnerable interplay between psyche and soma that occurs only in the immediacy of the encounter between the performers and their spectators. The act of research and the dialogue that informs and evolves throughout the creation process remains integral to the performance, allowing the performer and spectator to encounter the situation simultaneously—connecting them, their memories, their sensations of embodiedness.
Since 1999, I have crafted dances. That has gradually expanded to include, first, theatre and, later, elements of live art. In the earlier works, my interest was in creating an onstage world of fantasy that existed through a connection to a personal mental state as a performer. I was intrigued by the visual aspects of the work manifested through stage design, but also by the imagery and inner invocation I could manifest by mixing choreographed movement and improvisation, allowing for diversity and discovery in each enactment of the work.
My current approach to creating experimental performance lies in accessing and generating experiences of the body. As that which both constitutes and encases us, it is through the body that we interact with and influence, understand and create our reality and our relationships. It is through the body that I find myself relating to the world, and performance is the channel that allows me to explore, clarify, or raise awareness of that relationship.
I am interested in performance as an ephemeral dialogue, a temporal form of expression and exchange. I believe in the communicability of art as a personal, social, and political statement with the possibility of provoking action. My goals as an artist are based on contributions to the dialogue that propels dance forward as a medium by continually educating myself and others to its possibilities. My voice grows stronger as I continue to present my work, see the works of others, read, teach, talk and listen. I challenge and am challenged both dramaturgically and collaboratively as I work with artists who continually widen the frame through which I operate. I see the transformation of my processes, and I learn to give in to my intuition. I continually make room for more.