My work is a performance based research practice focused on queer time, adoption theory, and critical conflict theory. I use theater as a way of asking questions rather than offering answers. Through performance, I explore how people inherit histories they did not choose, how systems of power repeat across generations, and how time shapes what we remember, carry, and pass on.

Queer time is central to how my work is structured. I am interested in time that does not move cleanly forward. In my plays, past, present, and future often exist together, disrupting ideas of progress, resolution, and lineage. This approach allows me to examine how violence and care persist beyond single events and how responsibility does not end with one generation.

As an adoptee, adoption theory shapes how I think about family, belonging, and inheritance. My work challenges the idea that identity and kinship are rooted only in biology. Instead, I focus on adoptive and chosen forms of connection that are shaped by loss, separation, and reattachment. Adoption functions in my work as both personal experience and critical framework, revealing how institutions shape identity and how absence can be as powerful as origin.

Critical conflict theory informs how I approach hierarchy and power. I am less interested in individual conflict than in the systems that produce it. My work traces conflict through structures such as militarism, industrial agriculture, chemical warfare, and propaganda. These systems create long term harm that is often normalized or ignored, especially for marginalized communities. Rather than resolving conflict, my work stays with it in order to better understand how it operates and how it might be disrupted.

These ideas come together in my ongoing project, The Book of a Universe Inside of a Universe, a multigenerational experimental play about war, displacement, adoption, and ecological damage. This work places human stories alongside environmental and technological systems to show how social and ecological histories are deeply connected.

At the core of my practice is collaboration and care. I approach rehearsal rooms as shared systems where responsibility and creative authority are distributed. Through performance, I aim to model alternative ways of relating that resist rigid hierarchies while remaining honest about conflict. My work seeks to create space for complexity, accountability, and new forms of connection across time.