Choreography
Artistic Statement
As an artist I am abstract. I tend to lean into darker aesthetics, because it is what seems most authentic and appealing to me. I take it seriously but not too seriously that I don’t slip jokes into my work every now and again. What can I say? I have a sense of humor. I like to live by the notion of committing to a choice or idea and running with it. Anything half done will die, but full commitment no matter how scary can lead to a break though. If I'm not a little scared I have to ask myself am I really expanding to my greatest potential.
Works
Existential (Group)
Existential was created for the Winter 2025 Oakland Dance Theatre Concert. I chose Freak on a Leash (Korn) and Losing You (Solange) because the combination of the two of them is a bit unhinged. Existential is what the title says it is, a crisis of sorts. The idea of feeling unable to control what's happening in your life leaving you with nothing left to do but laugh and let go. Sometimes the lowest lows create the highest highs.
Jaded Edges (Solo)
Sometimes you hit a wall and the only way through is by way of Meredith Monk. I was stuck, but I knew I wanted to use Monks music somewhere at sometime so why not now, right? Jaded Edges uses The Politics of Quiet: Waltz in 5’s and this forced me into different meters, and frankly a different mindset. I feel all the work I do is a bit weird however this music lends itself to be a bit unsettling. It asks a question holding this mysterious curiosity, and that is how this choreography felt. This piece was also chosen to be performed at the American College Dance Association conference, winter 2025.
Everything goes back in a box (Solo)
This piece was created over the span of about three months. It started from gathering, and looking at pictures to gain inspiration from shapes, colors, or just vibes. As it developed and the music was eventually chosen (I Put A Spell On You, Alice Smith) I was in a phase of life where I was watching a lot of horror films, and I started to find inspiration from these different films. Most of them being “classics”, I guess, and probably some considered “slashers” in there. There is something often romantic and painful about horror (think Dracula or Nosferatu). From there the phrases I was piecing together came from moments or ideas in these films. The whole piece near the end retrogrades back to the beginning, and the title Everything Goes Back in a Box speaks to that. This final thought was pulled from Hellraiser.
Cure (Group)
This one was an experimental piece in a sense. I was able to explore a very fluid groovy movement style which I particularly enjoy. I chose the music first (Play for Today, The Cure) and I love the cure so I thought it could be fun to test out. I had a very clear picture for the beginning of this one, lots of interweaving traffic and the thought of people going through life, still on the surface, but struggling underneath it all. Almost an idea of your circumstances forcing you into corruption.
Current
Bustle
(working title, Group)
Currently I am working on my senior thesis piece. It is composed of the interlude music from the Broadway musical Maybe Happy Ending and is (when all together) a capsule sized contemporary ballet. It is about the human experience as we go through life creating new relationships whether they be romantic or platonic. It is meant to show the value of having human connection although we as humans sometimes like to put up a guard thinking we are protecting ourselves. Learning to trust in a world that allows you no time to feel.
Et Cetra!
In addition to my modern works I have also been the assistant choreographer for The Phantom of the Opera, Bright Star, and Matilda. I have a love for choreography and a love for musical theatre so why not combine the two!
