I enjoy creating work that resembles alphabet soup in the way that their is familiarity with in what you are able to taste but a difference in delivery method. I believe in continually challenging myself to push boundaries choreographically and conceptually. I find myself diving into the idea of of two concepts for one piece, the one I have created that is more complex and the second one that is interpreted by the viewers and dancers I am working with. The concept of my pieces may appear simple but is widely layered when broken down. Conceptually wide and visually narrow almost like a tunnel with graffiti inside of it. Finding order in chaos is a big contribution to my conceptual and choreographic vision. There is something satisfying about heavily incorporating the sound score into my work. I enjoy contrasting the movement to the music, finding rhythms choreographically that can not be heard in the sound playing as well as shifting through movement as the sound score makes quick transitions. The sound score and concept are heavily intertwined in my work, I believe if I can not hear it then I can not see it. There is rarely a deepened connection between myself and what is being demonstrated.
Finding what creates questions for the audience in their shifting emotions and their occasional confusion inspires me for my next work. I strongly believe that if you only created work to feed the audience the artist would starve. I have a deep care for creating work that allows people to explore the question: Is it possible to find comfortability in discomfort?
Choreographically, I tend to create a lot of physical movement on the spot in the rehearsal space. Delivering the movement is often fast and the process slows down when articulating details of time , space and number shifting. I enjoy working with dancers that can dive into the work I am giving them and really invest their energy into the process.