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I am an interdisciplinary artist who works choreographically with various technologies and materials, including bodies, cameras, objects, soundwaves, instincts, and ecosystems. I make work to illuminate the role of the nonhuman in formation-practices of self and material environment, and turn to interspecies ecologies to challenge distinctions between nature and culture. My research takes shape in various forms, including live performance, experimental video, sound design, and writing. I work as both an artist and a scholar, and value pursuing multiple methods of “theorizing” and presenting research across disciplines.

 

Projects have included a four-month investigation into the porous materiality of desire and eroticism in caves of Virginia, developing multi-critter movement scores to research the oscillation patters of tides on the islands of British Columbia, and a one-month ethnographic study into the choreographic relationship between stray cats and the local restaurant economy of Lefkada Island in Greece.

 

I see my work emerging from the inquisitive traditions of experimental video and performance pioneers of the 60’s and 70’s. I am influenced by the ongoing criticality of these artists to resist conventional narrative and challenge assumptions of form, image, and identity. Moving between experimental video/digital practices and dance has led me to intricate considerations of materiality and the many ways in which we mediate and modify our bodies on various scales, from clothing to cellphones to diet fads to social media. These interests are also deeply informed by the ontological tornado of growing up as a queer non-binary kid in the conservative south.

 

As both research methodology and a choreographic infrastructure I turn to the phenomenon of diffractions. Moving beyond reflexivity, or reflecting back information either through representation, critique, or assimilation, working diffractively is to work-with, think-with, make-with, to discover significance and difference through relationality. I see my work materializing through its relationship to not only my immediate collaborators, but also other artists and thinkers I consider kin: Donna Haraway, Michael J. Morris, Jennifer Monson, Karen Barad, and my canine companion, Laika, among many, many others. I value the prospect of creating work that could be read alongside and through other projects, with influence and citation becoming visible and necessary material attributes to process and meaning.

 

I am situated inside of the current trajectory of scholars and artists across disciplines turning to the field of “new materialisms” to respond to the political-ecological moment we live in, while also extending some of these ideas to discourse in transgender studies and intersections of feminist theory and science. Choreography and writing serve as the two primary forms I work inside of, often interchangeably, to better understand the ways in which bodies, objects, and ideas move through time and space.