My work touches on the topics and issues of time(lessness), socialization, diversity/inclusivity, and juxtaposition. As a choreographer, my work reflects my views of the world. My collaborators are the people in my life and whether it’s for a season, a reason or a lifetime, they’ve all helped shape how I make and think about dance. To me, life and dance are very symmetrical. In my opinion, I see a lot of similarities between dance movements and pedestrian movements. I like to think about these things while I choreograph. My experiences have a tremendous emotional impact on my work. I think of my choreography as chapters of my autobiography. I am interested in seeing a variety of different movement styles side-by-side and all together as one. I’m interested in what kind of dynamics are made when there is an immediate shift between dance styles. I am not just one kind of a dancer, I do a lot of things. So, when I’m making, I don’t leave any of my training at the door, I bring it all in and create kind of like a collage piece. 

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Most of my sound scores (if I use one) consist entirely of house music. House music somehow holds the ability to stretch time and create this feeling of timelessness. In house music, there are rarely ever lyrics and if there are, it’s very few. House music focuses solely on the beat. I love house music because you can listen to, and ride one beat for so long and it just carries you and makes you forget about time entirely…until, it’s two hours later and you realize you’ve been dancing, chasing the same beat for a while now. This state of being is when I feel most myself: when I'm in tune with my natural pulse while also simultaneously escaping this propagandic construct of time. House music is like waves crashing over and over again. Kind of like life… house music and life are similar in this way: they both keep going.

 

I like to work in unison; To me unison is very powerful and creates a sense of community and togetherness. I also like to play with this idea of witnessing or watching, on stage — within my work, to symbolize this idea of a “bystander.” When I imagine my dancers in costume, I see them layered with lots of clothing — with lots of different colors and lots of different patterns. Again, I want them layered with (little-to) no skin showing. As a woman in this world, I am constantly sexualized, and I don’t want this kind of sexualization of my dancers to occur on stage because of what they are wearing. My work is where we can all be free of that; and this type of hate. The styling will not be masculine or feminine, but more non-binary. Gender stereotypes impact and shape this world in a very negative way. To me, we are all just vessels — living breathing bodies. Clothing/fashion is just an expression; an expression or physical representation of human emotions and thoughts. 

 

I like to utilize a wide variety of different movement styles in my work, usually performed by a group of versatile and diverse dancers. I'm thinking about diversity. For me, having a collection of different people from all very different walks of life in the same space together, creating together: that’s enough for me. The goal of my work is to showcase that contrast in dance, and in life, is quite beautiful. My vision for my work is that there is a constant moving-and-shifting between movement styles happening. I think my work could be described as having a commercial aesthetic; although my work is less of a performance or showcase, and more of a shared experience.