I’m here for the subtle, lush, and imaginative experience of the body.

As a maker, I have moved through multiple phases of creative process in service of a unifying inquiry around intimacy, realness, and wonder.

Across Poetics of Presence, Meta Dance, and what is now Embodiment Imaginal practice, I have worked across image, movement, language, and relational encounter as shifting mediums for attention, perception, and lived experience.

Care, tending, and aesthetic intelligence remain central throughout this work. At times this has taken the form of a care practice in itself, tending what is discarded, what is wounded, and what has been shaped by violence against the female form and feminine forces of nature. This has included practices of rewilding, reclamation, and transformation, where attention is offered back to what has been fragmented or overlooked, and where perception is asked to return potency to what has been diminished or contained.

The practice resists objectification and the closure of experience into stable meaning. It stays attentive to how experience remains alive while being witnessed, and how it can be held without collapse into interpretation or resolution.

My work has been shaped by limitation and by learning to work with the body I have. A history of injury and the early avoidance of hip replacement at age fifteen required a radical adjustment in how I approached performance and inhabitation. I shifted toward subtlety, economy of energy, and precision of attention while maintaining intensity and presence. From this, vulnerability became a defining condition of the work rather than something to overcome, and movement shifted from virtuosic display toward gestural intelligence and perceptual depth.

Improvisation has been a foundational logic throughout this practice, where decisions are made in real time, under pressure, with sensitivity, responsibility, and full ownership of what is unfolding.

Over time, I moved from identifying primarily as a dancer into a gestural and performance-based practice where ethics, collaboration, and relational awareness became inseparable from aesthetic and conceptual inquiry.

This work operates at the intersection of the visceral, the imaginal, and the invisible, where perception is both embodied from within and responsive to what is outside it. Imagination here is not fantasy but availability to what is not yet visible in material form, while still being felt and known in lived experience.

Spontaneity, intuition, tenderness, and earnestness function as forms of attention. Consciousness becomes a shared medium through which experience is grounded in the visceral, the real, and the imaginal at once, particularly within relational and group fields where perception is co-formed.

Poetry functions as an operating intelligence in this work. Grief and celebration are not opposites but interwoven perceptual states, and death-consciousness is present as a way of staying close to intensity, impermanence, and transformation without withdrawal or reduction.

Across photography, performance, relational work, and embodied processes, I have been concerned with how experience becomes more vivid, more real, and more alive when attention is refined and perception is allowed to remain in motion rather than resolve into fixed meaning.

In its current articulation, Embodiment Imaginal stands at a threshold. What has been gathered through earlier phases of tending and transformation is now entering a new era, where it is no longer only held in service of repair or witnessing, but can begin to ask new questions. Intimacy and radical perception remain the ground I work from, while the work opens further into play, aesthetic authorship, and expanded forms of making and encounter.