Updated: Nov 24, 2020
I consider art-making to be a porous practice of listening and hovering, as a way to notice the internal and external micromovements of my own body and the nonhuman living bodies around me. My work uses elements of live performance as a way for both performer and spectator to deepen perceptions of their immediate surroundings. I look for a non-hierarchical use of vision by playing with de-centralizing the human body in nature; practice at integrating all senses, which attunes me to the minute workings of my body as I see, hear and feel (inside) as it responds, emanates, flows )outside(. I practice at making the boundaries of categories, genres, genders, concepts, skin... imperceptible as a way to reconsider how bodies with-(in) those boundaries can relate. My work attempts to evoke movement in the spectator; overlapping hands and arms, thoughts and opinions, images and metaphors, in order to question how the location and placement of the body of the work affect the bodies in the work and the bodies experiencing it.
As an aspiring political-statement-in-process, my work:
fights against how anatomical, psychological and physiological disciplines determine and decide, and how cultivation cunningly codifies
fights against the body as an integrated body, refusing to be lured into the illusion of unity or individuality nor enticed by the ambitiousness of multiplicity,
fights for the micromovements of the body as a way to communicate with other nonhuman living bodies
fights for the fragmentation of the human body as a way to re-visualize it within its ecosystem
fights for perceiving bodies differently by first recognizing my own as non-integrated fragments; some physical, material, emotional, mysterious, playful, poetic, lurking; others unknown.
My work fights for the recognition and acceptance of the body as imperceptible fragments
which meet, collide, jostle, and overlap all others; intra-relating while not joining;