Having perspective is everything.
But having a singular perspective is not enough.
I want multiple.
Because having a multitude of perspectives and angles
requires an understanding of multiple languages.
But the word language is also too singular,
yes? So no, not language.
What I want are multiple vantage points
that invite a range of ability.
Having boundaries is important too.
But having a solid boundary is too limiting.
I want to change the shape of the boundaryline.
And in this space I create,
I want the audience to receive a physical sensation.
Through a range of questions, reflective thinking, defining, and journaling, I have learned a great deal about “myself” as someone who is immensely interested in multiple ideas and concepts, and that I like to combine research and gut instinct to offer up a physical sensation in my work. Nothing comes from a singular experience. There is no singular influence in the artistic practice. Or at least, in my world, I constantly exist in a converged space of multiple experiences and internal/external stimuli. Thus, my creative work starts with a personal fascination to examine the multitude that exists in our lives.
I often tackle the idea of a space/threshold between two opposite realms and the forces that we collide with our body everyday – the violence, the affection, and the dislocation. Peculiarity, abnormality, idiosyncrasy and weirdly wonderful incidents often encourage me to look at our lives with a good sense of humor and to overcome some of my own challenges and difficulties.
I use voice and sound as another physical module, and create twisted narratives by giving a framework (situation) and specific purpose to each theatrical element on stage. Subversion of non-linear narratives appeals to me greatly to re-contextualize the presented content. I construct abstract and/or theatrical environments, and create rules that exist within the games between performers. These environments resembles our society where rules, regulations, and laws governs the way we behave and navigate our physical space, mind, and relationships. I seek to find instantaneous visceral reactions, physical sensation, shift of perception, and physical intensity brought to the visual and physical environment that I establish.
In the process of creating work, I closely pay attention to finding the apparatus that my language can be decoded in the territory of the audience’s cognitive, emotional and physical experiences in given performance circumstance. The important matter is not derived from the pleasure and the joy of inner connectivity within the body and spirit. Rather, it has to be examined and reflected through the physical interpretation of universal phenomena, whether it is a microscopic level of investigation or larger political viewpoint.
My artistic intension is not to focus as much on the dance, but full exposure of visual and physical ideas. Without fear, without neediness from audience, I expose works with bravery, humor, physical freedom and expansive energy.
photo by Lindsay Browning