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.
“Her honesty and willingness to be vulnerable, with her gestural and creature-like movements, sets her apart from other emerging artists.
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noting My lens is one of relationship, poetic transmission, ceremony, and witch craft . . . mixed with an appreciation for humor and bewilderment. Mysticism and multi-dimensional perception now seems unavoidable after years of becoming intimate with performance, injury, nature, and the wisdom of the body.
Class History
Witch Body
Enter a realm of sensory cues, invitations for embodying one’s deeper nature, summoning potency, and exalting the bodily experience. This space can be lush, subtle, grounding, and presence-full. We are snails. We feel the glimmer of the stars. We feel the winds. Here we develop the craft of listening, inviting the intelligence of the body. Let’s be cheeky and also serious. Here you are a person first, here you move even in stillness, here you get to reckon with your body’s range of expression. Here we attune to self, shift our understanding of our potency, and play with the reverie of existence. Here our softening is our power. Here we savor.
This is an intuitively guided movement experience featuring suggested sensation cues, poetic language, gestures, and group connection. Facilitation is based on the moment, the movement of the group energy, what wishes to be summoned, and methods of movement that are akin to physical theater meets mysticism.
Perfect for those wishing to move in primordial and decadent ways, amplify sensation from simple forms, feel our interconnectedness, and have serious fun
Past Classes:
Sensitive Strength
Wild Mindful
Conscious Partnering / Contact Improv
Contemporary / Choreo
Deviant Ballet: TBA
Soft Power
My favorite teaching style is receptive. Improvisation is a deep bone in my body. My gift is spontaneity and bringing a group of individuals into a shared, yet individuated experience. Although I can prepare and guide pre-decided course material . . . I am perpetually enamored by the current moment and what arises from listening, moving, and releasing agendas.
Sometimes this approach communicates to people a lack of standard or seriousness of practice when what it really creates is a platform for sophistication, resiliency, and wildly gorgeous presence. There is a deeper structure beneath surprise, after all.
I might add that my range and contradictions unlock the prismatic nature of simplicity and also invite the complexities of life. Choreography and unlocking these principles of nature within projects and performers is incredibly life affirming and connection building.
In my less translated voice and primary consciousness of thought form:
My art practice is a portal of body and spiritual sensitivity. I believe in cultivating a depth of relationship that rebels against objectification. Holding agenda with responsiveness so that the journey progresses with integrity and not only empty arrivals.
My lens is one of relationship, poetic transmission, ceremony, and witch craft . . . mixed with an appreciation for humor and bewilderment. Mysticism and multi-dimensional perception now seems unavoidable after years of becoming intimate with performance, injury, nature, and the wisdom of the body.
I value deep listening, improvisational and intuitive methods of creative direction, and a welcoming in of the banished: eros, grief, whimsy.
I will not hide that I am someone that sees, that I am someone willing to work with the unknown and forgotten parts of our individual and collective stories. That I am someone daring to enter into choreographic space to recalibrate to newer energetics of intimacy and release histories of painful relating . . . while playing with absurdity, sincerity, and joy.
Movement and Style beyond objectification.
I resonate a lot with snails, slugs, moss, gorgeous fabrics, and prismatic consciousness. The whales feel like kin and I remember the fish as my older ancestors. I’m most likely dripping in the rain right now, deep in a book, improvising new lyrics, or running innovative energetic protocols through my body.
My work requires and unleashes a depth of embodiment that goes beyond steps or choreography. In a way, it is an equalizer for seasoned professionals and movers that don’t identify as dancers.
Movement Direction
film / music videos / staged performance : for theater, musicians, dancers.
hEDS
An important perspective I bring to creation is my lived experience with hyper mobility, health complexity, and my initiations within the wounded healer path. There is an importance of weaving limitation and possibility. There is poetry and stability and a recognition of the material at hand.
My most recent work emerged as a process of reconnecting with my methodology that combines my esoteric energy practice and performance style. The work centered the theme of the cosmic orphan while holding the emergent occurrences within the studio.
My work has had to center grief and celebration as a process of life and right relation.
Sharing our stories and creating new cultures transforms our lives for the better, as artists and beings of earth. It is wildly necessary, urgent, and awe-inspiring.