My creative and research process is often like jumping down a rabbit hole—the search leading to unexpected places and ideas, previously unseen connections. Chance encounters become the crux of my choreographic process. Music, literature, visual arts, science, math, memory, and nature blend in new ways drawing the audience into these reimagined connections. My performances make visible the transformative process I surrender to in exploring visceral memories and/or questions about the individual’s relationship to the world and others.
I am interested in the imagined worlds we create internally as performers and the ways choreographers use language and imagery to translate these worlds, how dancers use emotion and memory to bring movement to life, and how this in turn affects the audience. These interests have led me to studies in Japanese butoh and beyond.
Working from flamenco, a politically and culturally charged art form, I look both to the past and the future. I constantly renew and deepen my understanding of the form’s musical structures and cultural history. I create within flamenco, pushing the boundaries of the form by using contemporary performance frameworks while deconstructing the art form’s essence. My personal style has developed from the flamenco teachers with whom I’ve studied, including Rosario Toledo, Andrés Marín, Cristina Hall, the Encinias family, Nélida Tirado, among others, and is augmented by my studies with Laurie DeVito (Simonson Technique) and countless hours of solo study and experimentation, i.e. woodshedding.
I stop being an artist the moment this statement ceases to evolve and the moment I cease to take risks…