My work is framed by both performing arts and (extra)visual art contexts, frequently curated within museum or gallery institutions. Due to these contexts, I am often confronted with the intangible and immaterial dimensions of dance and performance within the frame of object-based art economies. This has led me to acquire special attention to the ways that a dance might imprint upon or stay with us as memory, or how it can stick to the air or lodge itself in a room like an affect. I am interested in how dance can crystallize, assemble its architectures, and expose the layered terrain of the body as it moves and is moved in a visually reflexive space. Ultimately, dance offers strategies for sharing and experiencing ourselves together in real time as much as it participates in and (re)performs historical and cultural representations. It points to what it feels like as much as what it looks like.

I also choreograph and perform within theater venues, which I consider to be site-specific, utilizing historical architectonics, forced perspective, and ritualistic event of performance and its reception. As a classically trained dancer, I am drawn to explore my own body through awkward bodily states that complicate dancerly poise and engage the affective potential of a disorganized body. My relationship to performance and practice is deeply tied into the ritual of the everyday—its discipline, rhythms, energetic ebbs and flows, and the highly collaborative nature of dance as a form. Made on, for, and with bodies, dance is ultimately about being with others and how to navigate the complex terrain of and between bodies—in the studio, the theater, and out in the world.

Since moving to Detroit six years ago, my work has engaged questions of dance’s ephemeral conditions and capacity to take place, further interrogating the importance of architectural space in art-making and its reception. From the studio to the factory to the residency to the home, my current project has been centered on questions about gender politics in relation to these (dance’s) domestic habitats. An essentially mobile and fleeting form, I wonder about dance’s resistance to capture or staying in place as it relates to its (domestic) trappings and (disciplinary) home. For me, dance is inherently promiscuous.