Forms of representation
and mediation against immediacy

My writing focuses on auto-theory, negativity, and the tension between the non-conceptual, the literal, and dance. My work looks at forms of representation and unfolds a theatricality between the absurd and the romantic—hot and precarious. My compositional practice begins in speculation and in an ongoing investigation into the transmission of information, where communication can move between language, embodied intuition, and telepathy.

I approach performance as research into what is not here yet. The studio is one site within a larger patchwork made of rehearsal, daily life, previous materials, memories, interruptions, distraction, and things that insist before they know what they are. Against immediacy, I work with delays, detours, and the spaces in between what is seen and what it means. The body becomes a medium for knowledge through trying, repeating, failing, stopping, watching, and sensing when something begins to produce a scenic force.

My research on intimacy and queer phenomenology asks how proximity and distance orient bodies toward one another, and how writing, movement, and memory seek an addressee. I think of intimacy as situated and artificial: a space of production where inherited objects, myths, gestures, and archives carry emotional and political weight. Through precarious bonds with what is absent or cannot speak for itself, I bring dreams into contact with dance archives as a way to resist possession, survive, or imagine something otherwise.