Artist Statement

I am curious about concentrated states of being - what they look like, how they evolve, how they influence others, the time, and the space around them. Dancing this is not usually spectacular. Nevertheless, I want to engage an audience with such concentration and transformation. One strategy is to have the audience close for extended periods of time to magnify details of movement and experience. The work I am currently making, Critical State, will be performed in several rooms using sound and video to connect the performers and audience in the spaces. Monitors and microphones will communicate timing and intent to the audience and help to simultaneously emphasize details and overview. There will be an interplay of set material and scored improvisation for the dancers as well as the sound and video artists. Video, sound and lighting will create an enveloping milieu with a live mix that the audience may watch. In this work we will all be alert to the inter-changing states of the dancers, media and milieu.

As a soloist, I have navigated site-specific, time-based intermedia work. Critical State marks for me a new relationship to ensemble with its challenging multiplicity. 

Along with the complexity of this work, I maintain an aesthetic of simplicity: I value a direct, intimate relationship with an audience, the elegance of a single gesture, and dancing that reveals an inner life.


The work involves:

* Solo performances for stage, installations, and specific sites that
bring viewers close to the experience of dancing.

* Performance/installations with video that give audiences the choice
to move around and within the performance.

* Lecture-demonstrations and art talks and that contextualize contemporary
dance-making.

* New and repertory works that range from the abstract, athletically
virtuosic to the theatrical and contemplative.

* Works for actors, singers, untrained dancers and educators.

*Classes that encourage everyone's ability to dance
and workshops for professional performers

*Outreach to community leaders as an arts/artists' advocate.


Concerning Performance for Museums, Galleries and Public Sites


John Cage wrote that for art to be contemporary it must be fluent with its environment.   That is, it should not interfere with the real world that is happening around it, and what naturally occurs in the environment around it need not be stopped to accommodate the art.

The performances I make for museums take their inspiration from and are relative to the architecture and art of the specific site.  The performance art itself as well as the art and architecture are mutually enhanced when and because they coexist.  By occupying the same space and time, they give new perspectives on each other.

This mutual elucidation happens when color, texture, speed, volume, scale, timing and juxtaposition are all carefully considered.  The work of the performance maker is to ensure not just compatibility and coherence, but beautiful marriages.

My particular aesthetic tends toward the contemplative.  The body-based installation-performances that I make contribute to the consideration of the environment as a whole, the performance being one of many elements.

There are a few practical considerations.

*Normal function of areas is respected.  Unless there is a publicized event occurring at a specific time, stairways are not blocked, resting benches are not occupied, thoroughfares are not impeded.

*Designed views of either the art or the landscape are emphasized, not interfered with.

*Viewers should be made as comfortable as possible.  A schedule of what they may discover is helpful. At the same time the element of surprise can be advantageous.  To turn a corner in a museum and unexpectedly come upon the elegance of the gesture of a human being, can be wonderfully arresting.  Still, it is important to know how best to prepare visitors.