STATEMENT

My research grows out of a lifelong fascination with how different social and spatial conditions shape the ways we perceive, act, and relate to one another. Architecture, landscape, language and social expectations influence how we direct our attention, how we understand ourselves, and how we encounter otherness. Moving through different social and cultural worlds has led me to see the self as something continually composed through relations between embodied histories and changing material and political conditions. I work from within a body whose capacities fluctuate and whose relation to particular environments can become disabling, making this interdependence materially felt. One of my central concerns is the social and affective condition under which both the present order and a semi-apocalyptic future appear inevitable. I investigate how constellations of personal, social, material and historical forces shape the stories we tell, and how artistic practice might interrupt this sense of inevitability.

My practice spans writing, sound, still and moving image, and performance. Through voice, improvisation, site-responsive research and collaboration, I develop works that oscillate between attunement and interruption: listening closely to the relationships already active within a situation while attempting to disturb its expected rhythms and narratives. I think of my performances as invitations to enter shared affective spaces. They are often collaborative and improvised, using humor, rhythm and repetition to shift perception and allow unexpected ways of relating to emerge.

I understand writing as an expanded practice of attention. It may land on a page, but it often moves through voice, video, sound and performance. Moving between lived experience, speculative fiction and collective histories, I treat the first person as an unstable meeting place of the forces that shape it. I love language, but I am also drawn to its edges, where meaning becomes rhythm, breath and vibration, something felt in the body before the mind has had time to file it away. I approach narrative both as material and as a structure that can itself be interrupted, exploring how fragmentary, circular and polyphonic forms can unsettle habitual patterns of feeling and response. 

Autobiographical time coexists in my work with mythic and deep time. Water, geological transformations, myth, and engineered landscapes connect intimate experience to more-than-human scales. Zen practice informs how I approach presence, improvisation, not-knowing and the boundaries between self and other.