“His gift was to search in the outer world what nature had laid in his inner world,” wrote Goethe about art historian Johann Winckelmann.  Choreography interests me as a medium that allows me to use the body as a way of blurring what could be considered the inner and the outer world. I consider the moving body as thought and value it for that.

I sometimes call myself a neuroscientific artist.  I derive practice from cognitive science studies, where performers on stage create poetic experiments. Anthropology, psychology and neuroscience help me get a better understanding of why I do what I do. I’m not a narcissist. My existential crises include other people. ‘Why do we exist?’ or ‘Does this mean the same thing to you?’ are ongoing questions that generate material for me. There is an impossibility in knowing one another, as our body language has been crafted from our own personal experiences. I dance in order to understand life—to understand the other. In this way I don’t distinguish between choreographing and dancing.

Recent interests could classify me as a love archaeologist. I am curious to look into evolutionary and personal pasts of my body through immaterial things. I have a desire to make immaterial things tangible. On stage I can stop time, hear the unsung, and touch tenderness. Metaphor is a way of thinking. It is not representational. This makes a surrealistic seasoning at times that can be humorous or tragic in my work.  I understand things by their qualities. The precision of the human voice is an articulation of texture and diversity I like to translate into movement and flesh.

I work from the position that each performance must be different. Improvisation is a necessity rather than a tool. Works are usually delicately held together. The potential for them to fall apart is on purpose. Its part of how I match the outer world, to feel like the transient inner world.  Endings are often inconclusive. Pauses filled with something missing. Ambiguity for me is about an unfinishedness. This allows for multiple interpretations.

I prefer simplicity in style, but layering and complexity in content. I believe there is a fragility that exists between ideas that must be negotiated, so as to provoke meaning for the audience without being explicit. My work is personal but without narrative.

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