Choreography

I am interested in the function of multidisciplinary art making.  Having access to the creation of several elements within a project allows me to approach my work with manifold angles and lenses.  This creates several doors that open into the creative workspace.  This process generates an environment of collaboration between me and my given surroundings.  Working on choreography, audio, and video simultaneously allows for the work to expand into a compound structure of overlapping concepts that ultimately arrive at a concluding destination for an original production.  The work is achieved through a synthesis of various components into a final artifact.

Examples: The Death of Daisy, Constant Symptom Control, FY1

MODERN ART

I think it is important to differentiate my Contemporary and Modern Art approaches.  In Modern Art, I am using the definition as applied to the early Modern Dance Pioneers.  These creations are solo and group pieces contained within a tight structure of a given music score.  They are what I like to call “pretty dances” with form serving as function.  Their relevance in the current art world is a testimony of the preservation of heritage and craft towards the canon of historical dance makers.

Examples: Fall of the Apple, Avow, The Importance of Being Here

PERFORMANCE ART

Jumping off from a conceptual platform with questions and ideas of gender identity, copyright laws, and artistic longevity (to name a few) begins the route towards the development of new time-based performances.  The genesis for my avant-garde performances commence from a cerebral axis, which in time transfers to a presentation of a physical experience.  The inclusion of props and costume serve to elaborate on the given concept. 

Examples: Push Up, Valentine, The Hungry Dancer

COMMERCIAL DANCE

In making work for Musical Theater, Hip Hop, or Jazz genres I rely heavily on the music score.  I feel that it is my job to create realistic characters that pop with virtuosity.  Finding dynamic ways to express 3-dimensionality in newly created variations of codified skills is invigorating.  This work can be characterized as slick, but with heart.  I think that highlighting technical skill in combination with genuine motivation serves to create choreography that is highly accessible and dense with integrity and truthfulness. 

Examples: Bach Hop, Guys and Dolls, Village Voice Parade Float