My choreographic works over the last few years have been centered on the types of conversations we have with our bodies as dancers, as humans, and as sensorial beings. These conversations showcase how we listen to our bodies, how we see our bodies with limited or enhanced abilities, and how we compare our own bodies with others. With this dialogue established, I also incorporate the idea of reverberation of energy within the body and space as a way to inform my movement style. Whether the energy is big or small, I let this motivate me for movement creation. I incorporate these ideas into contemporary movement through my choreographic and collaborative process.
I am currently interested in investigating the ideas of interruption and obstruction in performance and how it can be used to invite spontaneity and embrace new obstacles. This allows for experimentation to occur in real-time which can give insight to the rehearsal process as a performative experience. This also invites what can be seen as "failure" into a performance as a productive possibility that informs decision making by dancers.
I aim to follow in the footsteps of artists like Richard Bull, Mary Overlie, Dianne McIntyre, and Nancy Topf. Their shared ideals of movement stemming from an organic bodily composition as a way to inform choreography are some things I strive to incorporate into my own artistic practice. Finding information and influence from my daily life, and the lived-in body, to inspire movement creation leads me to discover new ways of moving. Using these practices in the studio with dancers gives me even more insights since we don’t live the same lives in the same body. Combining our differences to use as a source of inspiration is something I am going to continue to explore.