I am curious about concentrated states of being - what they look like, how they evolve, how they influence others, the time, and the space around them. Dancing this is not usually spectacular. Nevertheless, I want to engage an audience with such concentration and transformation. One strategy is to have the audience close for extended periods of time to magnify details of movement and experience. The work I am currently making, Critical State, will be performed in several rooms using sound and video to connect the performers and audience in the spaces. Monitors and microphones will communicate timing and intent to the audience and help to simultaneously emphasize details and overview. There will be an interplay of set material and scored improvisation for the dancers as well as the sound and video artists. Video, sound and lighting will create an enveloping milieu with a live mix that the audience may watch. In this work we will all be alert to the inter-changing states of the dancers, media and milieu.

As a soloist, I have successfully navigated site-specific, time-based inter-media work. Critical State marks for me a new relationship to ensemble with all its challenging multiplicity. As Jeanette Winterson wrote, "...art is always about relationship--to the material, to the self, and to the world in all its chaos and intrusion, its terror and its glory" (New York Times 12/20/09).

Along with the complexity of this work, I maintain an aesthetic of simplicity: I value a direct, intimate relationship with an audience; I am inspired by the elegance of a single gesture; and I seek dancing that reveals an inner life.
The work involves

* Solo performances for stage, installations, and specific sites that
bring viewers close to the experience of dancing.

* Performance/installations with video that give audiences the choice
to move around and within the performance.

* Lecture-demonstrations and art talks and that offer insight into
dance-making.

* New and repertory works that range from abstract, athletically
virtuosic to theatrical and contemplative.

* Works for actors, singers, untrained dancers and educators.

*Classes that encourage everyone's ability to dance and make dances
and workshops for professional performers

*Outreach to community leaders as an arts/artists' advocate.
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