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 musical, visual, and movement material using a corporal logic. Our bodies and their vastness—their mercurial, dynamic, surprising ways of surviving—will always be most central to my work across mediums. Choreography comes from the Greek, khoros or khoria for dancing in unison, with the English, graphy to document, notate, or inscribe. This etymology is alive in my work, as dancing presses an indentation of itself into every other experiment of mine.

Dance provides a consistent methodology in my work, which has supported me in exploring object design, garment construction and costuming, musical composition and performance, drawing, printmaking, and a vibrant and messy writing practice. In each of these endeavors, my body is a bridge back to the present and anchors my multimedia work in sensation, perception, and identity.

My work as an artist is also rooted in what feels forgotten or left behind. Developing a rural arts practice has required a constant and loving choice of these things—a resistance to the idea that meaningful creative production only happens in those geographies where social and material capital is centralized. I choose here, Downeast Maine. I choose this place and I maintain a dialogue with it because it has fed and held me, mothered me. My creative work helps me sustain a politic of interdependence in this place, and asks me to constantly reach toward Community—not a romantic vision of one, but one that embraces discomfort, otherness, and the uglier parts of care.