Artist Statement

102. Dancers, we are shapeshifters. We could be in a post-industrial planet consumed by ocean; we could be ciphering ghost-traces from what occurred in the theatre space before our arrival; we could be turning our bodies inside out to ride the currents of our fluids into hybrid territories, and also we are right here, now, dancing together.

17. I see dancing like this: dancing = the activation of my body as site, as terrain, as a situation that does not arrive simply….

999. If I’m doing my job, then when you see me performing you might get the sense that I am dancing and being danced by unseen processes unfolding.

850. I am using performance, movement, and sound to find planetary processes that are active inside the body : from the shapeshifting of water to the sedimentation of dirt and earth and bones…

2. I have been dancing since I was a kid, since 1994, and creating performance and facilitating workshops and moments for gathering since 2012.

35. I am forever obsessed with planetary processes initiated by water and how those processes live within us.

401. I live-compose each performance through a chain-reaction of open scores created and elaborated in rehearsal.

1. I’m trying to learn what my body does and activates in a space. To understand the gestures, scenes, images, and potentialities that emerge and how to deal with them, grow their resonance, or get out of their way.

101. The initial encounter between my collaborators in the studio always serves as the point of departure for core themes and stakes of the project to emerge. We exchange different sensuous transmissions: to share our unique physicalities, styles of movement, sense memories, and archives of embodied knowledges.

390. I credit with deep gratitude those artists: including Eiko & Koma, Emily Johnson, Ivana Muller, and Valentina Desideri & Denise Ferreira da Silva, who put our relationality with each other and with the planet at the forefront of their work.

250. These days, I’m thinking of the artistic residency context as a kind of “studio for ______” , including but not limited to: (embodied processing) (scoring connections) (proliferating dancing) (decay>compost>regeneration) (planetary processes unfolding the body) (planetary processes fomenting the body) (planetary processing) (sedimentation) (sensing feeling and action) (movement transits) (languaging through the body) (embodied cartographies) and (dancing residue).