I make work with meticulous, borderline-scientific form and auto-obfuscating content from a queer, matristic, and pantheistic worldview. I believe that theater practitioners have the greatest impact on social systems and structures when we consider our work as a small part of the necessary larger project to leave modernity, for we are far past the point of acknowledgement that we cannot survive like this. I crave a return to ritual, mystery, interconnectedness, particularity, and the local, and I situate my artistic practice at this intersection of these paradigmatic desires.

But I am also not so self-serious. Part and parcel with my theoretical outlook stated above is making work in intrinsically collaborative and anti-hierarchical ways that foreground these values. My perspective is inflected by a deep interest in tactical urbanism and the multitude of technologies various actors in the environment have devised to render space as dwell-able. With this perspective comes an embrace of the temporary and the transient, the textural and the autopoietic, and to me that all means collective play. Play is what creates homes. Space is carved from space through the work of play. I play to work to play to work to play. I do it with others. Then I do it in front of others. Then I don’t ever do it again. Until I do.

This looks like:
- Small muscles examined in big ways
- The sound of words
- Sound through words
- Reused and up-cycled production materials
- Musicality and rhythm expressed through treatment of space
- Accumulation
- Residue
- The sound and smell of sweat and breath and effort
- Animated urbanism
- Affective geographies
- Mechanical technology
- Strong acting that foregrounds the body in practice and preoccupation
- Fabric and draping
- Sharp angles
- Soft curves