past works
the body of pain in a post-antibiotic era
the body of pain in a post-antibiotic era investigates the complexities of human relationship within this American political landscape and the dynamics that generate systems of harm perpetuating oppression and destruction of the planet.
Looking through the chaos of identity politics, information war, and the climate crisis, the production deconstructs rhetoric operating within the American information war and the weaponization of identity politics fueling inequality, violence, and exploitation. It’s an exploration of the pain of this American moment, the parallel devastation of our individual and collective experience, and the global repercussions.
Going from the micro to the macro, the somatic to the metaphysical – the individual body, the political body, the body of our planet – it imagines the end of humanity in images.
A dancer dances with a projector. A theremin is played. There’s a singalong.
2024 | Seattle, WA
Featuring Nabilah Ahmed, Miri Daniels, jt, Kaitlin McCarthy, Kennedy Polovich, Sonam Tshedzom Tingkhye, Fox Whitney, Kristen Yeung
Music performed by Amy Denio
Projections by Jeffrey Azevedo and Skye Hughes
Lighting design by Tristan Roberson
Technical support from Maria Mannes
Produced by Skye Hughes and Jeffrey Azevedo
Workshopped at the Window Room | Philadelphia, PA | January 2020
Featuring Mads Klemm and Parker Wagar
Special thanks to Gene Farbe and Shannon Brooks
Photo credit: Briana Jones
infinitely wretched:
why would we murder what we create?
this performance is a line segment
infinitely wretched is a performance project that investigates ways of describing space itself — form and formlessness, construction and dissolution, the inevitability and impossibility of emptiness, how a point in space does and does not exist. it is an evening of visual pleasure, a multimedia dance performance that asks, can a space exist that says nothing? if we say something, can it have no meaning? if something is said or a space does exist, does it have to evolve, or can it… not?
enjoy some silence! this project is an attempt to exit the information era if only for a moment, to get a break from the constant influx of data and ask… is it possible to present no information? to present the absence of information? to pause the act of presenting at all?
and if none of this is possible, then is it possible to prove that it is impossible?
it’s actually true - nothing happens in this show
special thanks to the Crystallographic Society of America
2022 | Seattle, WA
Production manager: Jeffrey Azevedo
Lighting design by Tristan Roberson
Stage manager and technical support from Maria Mannes
Vocal work by Genevieve Farbe
Sound design by Nat Tate
2017 | Denver, CO | Denver Art Society
Production support and great thanks to Mark Stenger and Grace Noel
on nonsense and trust
This interdisciplinary dance performance is a fictional autobiography in images, exploring the art of self-invention. Through movement, film, sound, and text, it depicts a mess of scattered events from childhood to death.
It is an investigation into narrative as a mechanism, not as a progression of meaning to be decoded or revealed by the end — even if it moves through time — but by embracing syntactical ambiguity and refusing the conjunction, it asks what is intangible and unpresentable at the center of what we call ourselves?
In the act of performing self-invention, the dancing body splits itself to enact its own representation, which is fragmented and constantly being reinvented; and simultaneously heals its own fissure, as the body cannot so easily be fragmented as can ideas.
2014 | Boulder, CO | ATLAS Black Box Experimental Studio
Featuring Andrea Anderson, Paige Berry, Nathan Blackwell, Britt Ford, Ava Grundy, Samantha Lysaght, Andrew Merz, and Jayne Persch
Music composed and performed by Todd Bilsborough
Props and set by Emma Smith
Video collaborations with Kathryn Konrad and Josh Glassman
Stage manager and lighting design by Anja Hose
Technical support from Ryan Smith
Special thanks to Erika Randall, Michelle Ellsworth, and Bob Shannon
Photo credit: Levin Visual | Video stills from Kathryn Konrad