My practice as an artist defines dance as the movement of the body as it unfolds in time. Using my own body as a site of investigation, I approach dance as an ancient and present practice, connecting individual and collective lineages, while allowing space for erosion and renewal. Making work within an oppressed world and an obsessed body, I see the expressive body as an act of both survival and resistance.

Improvisation functions as both a methodology and a philosophical framework. I ask what is the smallest container I can define that still allows improvisation to unfold? Within this curiosity, I investigate the role of agency inside defined and constrained systems. My movement research focuses on four areas: an anatomical approach grounded in the logic of the skeleton; the internal tempo of the human body; the multiplicity of texture as the simultaneous embodiment of contrasting states; and dance as a healing practiced, centered in honesty and care.

The worlds I create are tender, haunting, and reminiscent, with a movement language that is fluid, existing between formal technique and quotidian gesture. Unison functions as a ritual practice, gathering performers into a shared experience— willingly or unwillingly, consciously or unconsciously. Through duration, intrigue, and boredom, I seek to reveal the unobtrusive beauty of being human: to feel lost or in love, to experience sadness and wonder, to encounter betrayal, and to persist in the desire to survive.

For my performers, I create work with clear narrative intention, where every movement, interaction, entrance, and exit is grounded in choice. I prioritize texture and the articulation of extremities as sites of expression. For audiences, my work invites sustained attention and curiosity, encouraging reflection on relationships, motivations, and states of being.

See some of my work below.