Choreographer immediately situates my work within the field of dance, and this is intentional. My history with dancing is the bedrock of my artistic practice. I build material (vocal, visual, and movement material) using a corporal logic. The body and its vastness—its mercurial, dynamic, surprising ways of surviving—will always be most central to my artistic practice.

But identifying with choreography isn’t just about locating the methods of my making within dance. It situates my work within a community that I am deeply in love with. I adore dancers and movement makers. I love their curiosity and their generosity of spirit. I love the way they understand one another so clearly with so little time and language. I’m fueled by the intense joy and pleasure that dancers house in their body-minds, the way they construct a life out of the senses. I love how rooted their activism is in lived experience, how fleshy and visceral their concerns are. I love their work ethic, their unwavering commitment to activation and experimentation. These are the people that I want in, around, and throughout my art making life. Choreography makes me more proximal to them. Beyond its initial alliance with dance, the traditions, fields, and practices of writing, fiber craft, musical composition, improvisation, object and set design, and pedagogy are places where my work lives.

The dances I make are sometimes acute moments of storytelling. Sometimes the dances I make are actually communities, or extended encounters or correspondances. My creative practice is a constant tending, requiring a daily visitation, as one might give to a wild and sprawling garden.