I am concerned with detaching and reapplying visual histories, how time and situational tendencies can assume familiar outcomes, and how the way that one thing tolerates the next becomes a rule for how we occupy time. I tend to use bodies to occupy landscapes or visual fields rather than purposeful markings on time and space. I try to breed rural notions within urban time frames and often create something that requires its own set of rules for navigation.
Delicate perversion coils my work while the physicality of the bodies dominates a general aesthetic. There is something familiar and uncomfortable about the moving body. The body feeds more information than any awesome concept or lighting plot. I lean toward the idea that my work is not autobiographical, this can be argued on many levels but it is not my goal with performance. There is often no glorious ending and not much for people to take with them when they leave. People want something. Placing myself within the work is becoming a clearer choice rather than default these days. I use myself as a performer because I like to interact with the work in this way. This is where a lot of the exploration happens for me.
My choreographic approach is more of a cartographer or information analyst. As a performer of the work I get to bring dimension to the flatland of information and begin to explain that exploration to the other performers. I situate my work in a space where endless distraction makes you feel like there is bound to be an eventual truth. Since this place is completely manifest on invented inquiries, there isn't always an obligation to unveil or humanize or tenderize the body with movement. Engaging in the discourse of body memory and body experience, I can isolate tendencies and desires to then manipulate visual exhibitions of bodies. Once I feel as though we have located a coherent moment of either memory or experience, I tend to place an outside distraction over the whole process. Be it adding unrelated music or irrelevant props, a beautiful moment of bodies moving in design can occur and be overlooked at the same time.
My concepts and movement structures at times dissolve each other. I am reaching for a more heightened subtlety of experience. I don't find modern dance to be nearly as abstract as the world around me. The smell of rain, endless laughing, disgust, wanting more time-these are all abstract situations that I don't hope to recreate with dance but to begin to engage sensation with visual information.
I'm not sure if my work is about anything more than the absurdity of the body. I'm building space for the viewer to experience indentation, for eyes that find molding and packaging as important as a love story. Sometimes I also just make up moves that I think would be totally awesome in my dance!
