About

Improvisation is the cornerstone of my movement philosophy. It serves as both a performance modality and a research tool, allowing me to navigate my existence and the existence of others with curiosity and precision. It calls me out. It asks for presence and embodiment. This inquiry extends naturally into my love for partnering, where I am fascinated by the negotiation of weight, momentum, and agency between people.

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My research is currently focused on the relationship between performer and witness. I am curious how to see my body as something more than "on display," challenging myself to move past a superficial relationship between audience and performer. How can I invite the viewer to step beyond these tendencies? I aim to foster a deep exchange of experience and understanding. What is the role of the witness? I find my energy expanding beyond the barriers of my skin when a witness is present. How does the witness, without necessarily doing anything, call on me in the same way improvisation does? They ask for presence, for embodiment. And when I show up, do they in turn become present and embodied? Is this the exchange we recognize as empathetic kinesthetic perception — a concept explored by Susan Leigh Foster?

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Drawing from a foundation in somatic practice and a history of performing diverse contemporary repertoire, I strive to bring a grounded, analytical, and empathetic presence to every project. Whether in the studio or on stage, my work is a continuous investigation into how we can see and be seen, feel and be felt.