I am an interdisciplinary visual artist and performance maker - the stage and show are the aesthetic and psychological compass by which I approach my craft, a holy space wherein dreams are made manifest. I am interested in physical theater, or dance, which does not make use of verbal language, but instead locates its communicative power in the body and the performer’s active imagination - framed by a painter’s orientation towards composition, light, color, texture, layering, and a particular attunement to a bedrock spaciousness and emptiness. These dance investigations explore primarily non-human subject matter - animals both living and extinct, ghostly entities, and natural phenomena like volcanic eruptions and the night sky - exploring themes of illusion, desire, deep time, nature’s infinite beauty, and the primordial stories written in the human body.
My performance work fuses training in Japanese butoh theater with an ongoing relationship to Southeast Asian performing arts. Since receiving a Darmasiswa scholarship to study at the Arts Institute of Indonesia in 2012, and during the course of a low-residency MFA in Interdisciplinary Art from 2014 - 2017, my work has been based in the Indonesian archipelago. I work closely with Indonesian and international artists, facilitating encounters between contemporary practice and tradition, and rigorously engaging the potentials and complexities of cross-cultural performance making.
My new work, under the umbrella title Prehistoric Body Theater, is an interdisciplinary animal dance project, with the mission of telling scientifically informed stories of extinct species and ecosystems from the fossil record with nude human bodies. I am developing this unique modality and methodology through a combination of active visualization techniques from butoh theater, physical training from Indonesian traditional and contemporary dance, through mimicry research in contact with living animals, and through collaborative mentorship with leading paleontologists. By concentrating the content of this work on the pre-human world, during prehistoric eras when the geography of the earth bared little resemblance to the maps that delineate today’s national and cultural boundaries, I hope to unveil a space of radical neutrality where evolutionary biologists and paleontologists can engage in creative and insightful collaboration with traditional and contemporary dancers from around the world, generating a performance methodology and educational model based on our shared inheritance of the natural world.