Statement

I create performance works that are rooted in dance and informed by performance and visual art. My choreographic research takes on questions of performance and labor, the physicality of gender, and the value and distribution of time. I am currently developing three ongoing bodies of work. These projects take place in galleries, theaters, and non-traditional spaces; they are presented across dance, music, and visual art-based programming for both a seated and mobile viewership.

 

The experience of time—and one’s agency in relation to it—is my ongoing preoccupation. Works span durations from 15 minutes to multi-day performance installations. I use objects and drawing to extend the temporal possibilities of my performances, leaving visual records of my movement that accumulate as the choreography unfolds and playing with conventions of documentation and archive of live performance. I work in a formal territory between dance and performance art, combining the physical training and attunement of dance with performance art’s literal approach to task and experiment. In this overlapping space, different disciplines' understanding and aesthetics of physical labor come into conversation. Cross-disciplinary collaborations are an essential starting point. These relationships blur distinctions between visual, sonic, and conceptual elements and build multiple perspectives directly into the structures of my work.

 

Projects in Development

Re-stagings: A body of works that reads modern and post-modern visual art works as scores for performance. The series decodes the choreographic logic and somatic ideas already built into these works, unearthing the bodies implicit in objects, drawings, and texts. The series focuses on the works of artists who share an interest in embodiment, duration, and labor, including Sol LeWitt, Robert Morris, Richard Serra, Carl Andre, and Walter de Maria, all closely associated with dance and performance artists of their eras. As dance is considered increasinly through the lens of visual art, this series makes a counter claim, taking on visual art works as choreographies stilled in time. 

Re-stagings works in development and research include Choreographing LeWitt, a 25-hour choreographic and sonic translation of Sol LeWitt’s Wall Drawing # 56; Maria Maria, a two-dancer installation based on Walter de Maria’s 360/I Ching/ 64 Sculptures in conversation with his relationship with trumpeter Don Cherry; 3 Elles, a looping choreography that replaces the steel forms of Robert Morris’s 3Ls with three bodies (female by self-definition); Leana series of durational solos spread throughout an institutional space based on Richard Serra’s Propand Undera cyclical choreography based on Carl André’s aptly titled Fall. Past works include Two (2016, using Ellsworth Kelly’s Drawings on a Bus as spatial design); Well Mother (2015, using Robert Motherwell’s Elegy to the Spanish Republic as visual source material); and Before Coming Back in... (2014, based on conceptual composer Alvin Lucier’s score Palimpsest.)

 

8 Gestures: An evolving work that uses a set of simple tools, dowels of various weights and lengths, rolled in twisted paper. The choreography is designed around the sounds and rhythms I produce with these “instruments,” which in turn leave a visual record of my movement in space. Each of 8 sections proposes a different structure for measuring and experiencing time. The sections are each being developed in collaboration with a sound or visual artist, thus far with composers Paula Matthusen (electronics) and Cleek Schrey (viola d’gamba) and sculptor Jarrod Beck. Sections of the work have been presented at 9 Evenings + 50 (Fridman Gallery), Smack Mellon Gallery, Roulette, and Movement Research at the Judson Church.

 

Works for... A series of duets with experimental musicians that consider each player a contributor to both the sonic and visual composition of a work. These duets propose shifting relationships between improvisation and composition, expose the way agency is traded across different modes of performance, and explore my compositional debt to experimental jazz/ creative music. The duration of these works vary, and they may be presented for a seated or mobile audience. Works in this series include: Work for T. (with percussionist Tyshawn Sorey, SONiC Festival); 6 Lines (with vocalist Judith Berkson, DANCE ROULETTE); Autopoeitics (with laptop ensemble, composer Ted Coffey, Wesleyan University).