ARTIST STATEMENT

My work fuses storytelling with contemporary movement, treating the body as a multidimensional language - one that can hold logic and fantasy, text and subtext, structure and abstraction all at once. I’m interested in how movement can function like dialogue: not replacing speech, but translating it. In my choreography, narrative becomes physical, expressed through rhythm, breath, and gesture. The result is a physical vocabulary that guides the audience’s eye like a camera, inviting them into an experience that is felt as much as it is seen.

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I love movement in all forms, but I’m particularly drawn to adapting film and television into dance because mass media creates an immediate point of access. Familiar stories become anchors, and choreography cracks them open, revealing new emotional and kinetic layers. This blend of the commercial and the contemporary expands dance’s reach; pairing the enticing with the abstract, widening who feels invited into the work, and cultivating a broader, more inclusive audience.

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Across projects, I explore how physicality can be pushed to a maximum and how the body itself can become a living script. My recent work, Sherlock, a dance adaptation of a 1955 television episode, confirmed that embodying narrative can ignite curiosity in audiences new to concert dance while offering fresh tools for seasoned viewers.

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My practice thrives on evolution: experimenting with mediums, questioning form, and creating experiences that shift depending on where an audience sits: proscenium, in the round, or beyond. Above all, I aim to make dance expansive, exhilarating, and deeply personal. Movement has the power to awaken sensation, invite interpretation, and make the familiar strange again, and that is something I believe should be shared and celebrated.