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Photo: Idan Herson

Among other attributes, Art is an apparatus that can represent the non-symbolized surplus of the subject in society.


Creation unravels human experiences.
Creation is everywhere, anywhere, somewhere, and nowhere.
I create because I have to—or, rather, to understand my relationship to my own desire.
For me, it can help repair a wound in the present tense.
Being in a creative mode is instinctive, intuitive, and curious; it is somewhat elusive. I explore my
understanding of what creation is and inquire about the boundaries of my knowledge of it.


To dance means to be on a constant journey and permanent arrival. Practicing dance is continuous, repeated
work, allowing thought and sensation to reflect on and through the body and, eventually, the pleasure of
forgetting everything. It is a long process of embodying movement possibilities (I approach text and vocals
as movement possibilities) until they are tattered away, remaining as a trace of a feeling or a sense of
emotion, made more potent to the nervous system by the lengthy process.
It is immersion in an active experience—with one hand to explore and the other to grasp—discovering the
what through the how—the specificity of a moment. Given the right conditions, moments will hopefully
reveal themselves unexpectedly and spontaneously.


Choreography is an aesthetic lens through which I arrange the compost of ingredients into amalgamated
moments for observation. It is a process of assembling, questioning, intervening, and imagining the interplay
between points, or moments, of intensity, the line of variation by which the intensity arrives, and the context,
or the potentialities, of what could happen on a broader set of relationships. It can be seen as the process
between is and ought- between the structured experience we perceive now and the infinite number of aspects
of one experience.
It involves order, chaos, and the persistence to be more of what it is.

 

Bodies are unique, individual living entities that can interrogate different ideas: physical, intellectual, poetic,
subjective, emotional, historical, social, musical, etc.
Bodies are choreographic landscapes embodying passion, desire, joy, and sadness; they are endless in their
potentialities of becoming.
I never fully know what a body can do/ become.
I am interested in change and consistency, the relationship between mind and body, different qualities of
attention, inner debates and associations, contradictions, precision, and multilayered bodily expressions.

 

I often start with a simple proposition or idea, which may introduce a contradiction or specific constraint in
the natural bond between movement and body. Ideas are invisible at the end but manifest the dancer's
attention and physical qualities and define the conditions and terms in which dancers move.
I often communicate with different artistic disciplines, crossing the boundaries to neighboring worlds of
poetics and aesthetics, social and cultural constructs, philosophy and ethnography, and various
communication systems.


I am curious about the gap between what is and our perception of it.
I prefer the experience rather than the illustrative.
I am curious about people and their inherent ability to transcend.
I ask to reach one person's eye and soul.
I know it wishes to appear as
one thing.

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