I am both a woman and a child, created and creating

Still and always lapping up mother's milk sitting on father's lap

Sifting through reflective foundations and silt, searching for a portrait among mirrors. 

Though still, I am carried in motion in the glittery landslide, upon sparkling landslide, upon blinding landslide

I cannot see myself. 

A body in perpetual motion carried by momentous gravity

Where movement is pleasure I am a catastrophic hedonist, 

risking injury for the exhilarating fall, thrusting my limbs into dense darkness

only to revel in the effort and sensation of dangerous motion. Can I?

Without risk I am not.

An earth quaking mind in its own shadow.

Look now how I bite my own tail and choke on my laughter 

guffah fah, nnts, I stutter never for I am sure. Footed in my mouth

As gums bleed under clothes thick enough so I wont see the stains or 

she wont see her seeing. 

She is the one she she is the others. 

A friend of my selves. 

Hardly when clots gave strokes to babies unborn, I ressurect them

the snotty orphans I lie about raising. They grow and then rot and expand

like ice bursting my pipes and this is when I am best. Torn open and filthy. 

Covered in my selves, so many eyes are closed but we are smiling. Purple majesty. 

In waves, under the tide I meet you. 

Choreographic/ Artistic Statement/ Thoughts about how I make work

I’ve made dinner tables, classrooms, gymnastics floors, bars, and bathrooms stages for the ongoing performance that is my life. The drama of my work and my life exists in the counterbalance between child-like-un-disciplined-neurotic tendencies and the equally hysterical but cynically cavernous place that is adulthood.

I am currently maintaining equilibrium by creating work that attempts to produce a small and fleeting Neverland where I feed the childish light that eludes me more every day. I make a stand up effort to be present, but my wandering mind gets caught replaying the past and worrying about the future. Memories of my childhood are rich, and the experiences of the children I teach are rich, rarely laced with the apathy symptomatic of adulthood. I work hard to keep this fiery wonder and passion alive and well inside of me, inside of my work, and inside of the bellies of my audience.  At this moment in time, dance for me is the most glorious tool with which I do the work of my life; today the research lies in finding the potential value of our childish desires, tendencies, and dreams in the face of a sometimes hyper-serious and sometimes apathetic world. What is the value of detachment? The work is about exposure rather than creation or invention. It is my belief that we all have a wide range of identities within us, one of those being our youthful and curious self. This self lives deep inside of our gut and sometimes gasps for air! My work hopes to opens a valve that allows these little people to breath, laugh, and shine.

Utilizing task based prompts, improvisation scores, narrative guidance, spoken word, and vocal work, I construct performances that have intricate structural underpinnings that allow me to grapple with the content of the emotional body through the medium of the physical body.  My work is best received in non-traditional, intimate, and immersive settings which leads me to seek out venues that accommodate this kind of experience. Visual installation, sound and set design is often integral to the work I am creating. Full theatrical immersion is a priority when I am creating, and often informs the choreographic process just as much as the choreography informs the production elements.