My body serves as my core inquisitor and intercessor into the realms of embodied knowledge. I am particularly interested in the body-oriented essence of somatics and phenomenology as it relates to the human experience. The somatic practices of Anna Halprin, Andrea Olsen, and Joan Skinner, along with the phenomenological theories of Gaston Bachelard, Maurice Merleau-Ponty, and Carl Jung, continuously feed into my interdisciplinary, practice-led research, which, in turn, thoroughly nourish my artistic and teaching practices. As I dive deeper into these fields of study, I find that, innately, they each involve the body as the sole conduit and receptive medium of every layered nuance of experiential consciousness. Because the evocation of heightened awareness and bodily knowing lives at the core of my interdisciplinary dance inquires, I am thoroughly intrigued by this commonality, continuously infusing its essence into my creative investigations. 
 

I experience the moving body as the sole source and assimilator of our subjective and communal consciousness. It is this fascination with bodily knowing that keeps my practice-led research enlivened and illimitable. Through ceaseless rumination, rigorous risk-taking, and experimentation, I coalesce the raw physicality of visceral movement and dance with interdisciplinary textures that explore, induce, and challenge our capacity for embodied knowledge while inquiring into our ability to commune with our interior and exterior landscapes. 
 

The creative manifestations of my body-oriented studies are in continuous evolution, existing in both the live and virtual worlds. My artistic inquiries are often site-sensitive, interweaving dance, sound design, poetry, and videography. Cumulatively, these components intend to serve as a multifarious lens into my research concerning embodied experience while dissolving energetic distance between the viewers and my work. Because my research centers so heavily around bodily awareness, it is vital that my creative research evokes viscerally intimate experiences within myself and the audiences present. 
 

My current creative inquiry explores the process of conscious listening concerning interoceptive, exteroceptive, and proprioceptive phenomena and how it is sensorily and extrasensorily experienced within my moving, dancing body. Through a series of video studies within diverse spaces, I layer exploratory dance, sound environments, subliminal written and spoken word, and videography to induce and challenge the embodiment of conscious listening within myself and the viewers. 
 

Throughout my practice-led research, I ask the following questions: How vital is the body's role amid the process of conscious listening? How can I induce, stimulate, and challenge the process of conscious listening within three coalescing vessels- my body, the bodies of others, and the surrounding spaces? What interior and exterior factors enhance, neutralize, and/or detract from this level of receptivity within each exploration? How does this process feel inside my body? How does it feel inside the bodies of others? How do the changes in space alter (or not alter) this process of conscious listening? In what ways can this process serve as a catalyst for enhanced receptivity, empathy, communication, and connection with ourselves, others, and the environments we inhabit? Through the engagement and witnessing of this series of conscious listening video studies, what kinds of practical tools can we embody to then be transferred into our real-world, daily interactions and experiences? 
 

Amid all of the layered inquiries and elements of my practice-led research, an underlying presence remains- the essentiality of embodied knowledge and the body's vital role as a conduit between our internal and external, personal and collective experiences, and the residual synergistic, empathetic connections that arise within the human being as a result.