Thinking about my work.

 
 

I am currently negotiating my affinity for minimalist aesthetics against my love of big, extravagant dancing. 

My work uses minimalism as an element of design, both within my movement material as well as the choreographic structures I create. Here, formalism is a vehicle for abstraction of landscape and time.

I draw inspiration from my experience growing up on the flatlands of rural Illinois—a place of profound space and expansive horizon. This sense of distance resonates in my choreography as I consider the temporal layers of my work. I often place highly nuanced and fleeting sections of movement material next to moments of stillness. In my dancing, I interrupt complex, obsessive geometries with moments of physical release. Movement sourced from my love of ballet—including strict verticality and romantic gesture—are executed with brute aggression. The result is something contradictory: a dance that attempts to hold together disparate shards of movement that are nonetheless meticulously designed and calculated. 

These variations in tone created tightly woven structures that I fill with latent emotionality and Midwestern sentimentality.