My current artistic research

I identify as a storyteller. My current artistic research explores memory, impermanence, and the body as a place where stories can live. I am particularly drawn to what remains when a story is incomplete: a gesture, an object, a piece of music, a remembered phrase, or the traces of a life we can no longer fully know. Rather than trying to fill those spaces with answers, I am interested in listening to what the absence itself might hold.

My work moves between dance, film, spoken word, sound, and projected image. Increasingly, I am interested in the space between these forms: the silence between words, the moment before movement begins, the image that appears and disappears. I think of performance not only as a way of telling a story, but as a way of receiving one.

My recent research in Japan has deepened these questions. Through the study of Nihon Buyō and Butoh, and through encounters with Japanese history, traditional storytelling, and ideas of ma and impermanence, I have begun exploring different relationships between the body, memory, time, and space. In 2026, I was one of eight artists from around the world selected to participate in Traditional Theater Training at Kyoto Art Center, where I studied Nihon Buyō. This experience continues to shape both my movement practice and the questions I bring into the studio.

At the center of my research is a simple question:

What happens when we receive someone else's story?

A story changes as it is carried. The person who receives it becomes part of what it will become next. My work lives in that exchange: between the person who entrusts something and the person who receives it, between memory and forgetting, between one body and another.

I am interested in creating performances that allow those spaces to remain open ...places where we can listen across difference, remember what might otherwise disappear, and perhaps recognize something of ourselves in the story of someone we have never known.