Creations

I approach creative processes with a deep awareness of the observer's experience, driven by two key inspirations: movement rooted in sensations and impulse, and exploring new topics, sometimes layering them to build complex meanings. My creative research begins with identifying a theme or reference that I am interested in re-interpreting, then connecting it to a personal experience, and refining its emotional purpose with a narrative arc. My movement language is informed by my Gaga practice, interest in dance theater, and exploring physical impulse. In the studio, my movement is generated with collaborators because I prefer to respond to improvisational instincts, determining what movement pathways 'feel right'. I begin my rehearsals by leading a shared-improvisational, Gaga-inspired warm up. A part of my exploration is not overthinking my work and allowing the work's purpose to naturally develop alongside movement creation. 

By prioritizing sensation over aesthetics in movement creation, I challenge the common tendency to equate the success of contemporary dance solely with visual appeal. This approach allows audiences with varied exposure to dance to personally relate with the dancer’s physical and emotional journey. 

My work is not tied to one aspect of my identity. Instead, I jump between exploring a variety of topics, including nature in relation to technology, patterns in natural cycles, self during political unrest, and exploring choreographic devices. I like to explore these topics by re-imagining recognizable music or a pre-existing dance work, such as when I created contemporary versions of well-known ballet variations. 

Each work explores new themes, yet they all share a core commitment to physical exploration and multi-layered significance. By translating personal experiences in relation to universal narratives, I aim to bridge individual and collective perspectives, making my work both personal and broadly relatable.