As an organic mover, trained dancer, choreographer, and evolving interdisciplinary dance artist, my body serves as my most intimate creative vessel, exploring the diverse domains of embodied knowledge. My creative communing is inherently somatic, interweaving the essence of phenomenology as it relates to the multidimensional realities of human experience. I find that these two fields of study intrinsically involve the body as the sole conduit and receptive medium of every layered nuance of contemplative consciousness. Because bodily knowing lies at the heart of my work, I am thoroughly intrigued by this commonality, continuously infusing its essence into my interdisciplinary artmaking, research, and teaching practices. 
 

While my movement language lives within the modern/contemporary realm, I thrive off expanding beyond any specific labels through ceaseless risk-taking and unabating improvisational explorations that lead me deeper into our primal intercessor of awareness; the body. My core movement aesthetic is residual to these improvisations, arising as grounded, unbridled, fervent, meditative, and experimental. These qualities induce a heightened perception of my moving body's innate receptivity and assimilation of our interior and exterior worlds, a driving facet in my work as an artist in a seemingly compartmentalized society. 
 

My interdisciplinary dancemaking is body-oriented and site-sensitive, coalescing dance, sound design, poetry, and videography. Amid this creative layering, I inquire how and why our internal, personal domains connect, commune, influence, and synergize with the external, collective landscapes of our existence. In my site-sensitive, three-part, long durational work, entitled Dark Dances, Light Dances, and Synergy Dances, I explored the embodiment of Jungian theories concerning the inner and outer realities of human nature, specifically touching on our subconscious and conscious realms as they relate to the physical and metaphysical manifestations of darkness, light, and the liminal space in between. 
 

Using a specific space in the woods as the controlled performance site and my moving body as the primary receptive vessel, I merged ritualistic dance, layered soundscapes, paint-based visual textures, and videography to create three thirty-minute documentations of each embodied experience. Each exploration was intentionally aligned with the fall, spring, and summer seasons to more thoroughly orient my shifting inner landscape with the transitioning, exterior environment. I used each exploration's external, raw, and residual sounds to create the accompanying introspective, sensory soundscapes. The paint-based visual textures lived on a large, reflective insulation panel, serving as an abstract and time-based representation of my body's ruminative traversing through interior space. 
 

I yearn for the embodied nature of my interdisciplinary dancemaking to simultaneously draw my viewers deeper into their own bodily awareness while evoking a sense of intimacy between themselves and my work, whether witnessed live or on the screen. My creative process continually embraces the unfamiliar as a catalyst for novel possibilities. It is here, in the unknown, that an intensified level of risk-taking ensues, consistently invigorating me beyond the dependencies of my existing comfort zones. Thereby, I am guided into deeper depths of creative agency through the felt experiences of bodily knowing. As an interdisciplinary dance artist, it is vital that I continually birth opportunities to share the transformative potency of embodied knowledge in a seemingly disembodied world with all who are thirsty, receptive, and querying.