“As I start a project, I always want to create a world, and the world is work.”  Pierre Huyghe


For me, to dance means a continuous journey and a permanent arrival.  
To practice dance is to practice physical thinking.  
To be in a creative mode is to be instinctive, intuitive, curious; it is somewhat elusive. 
Creation, for me, can help to repair a wound in the present tense. 
It is to create or to unravel human experiences.
I explore my understanding of what it is, and I inquire the boundaries of my knowledge about it.
This means to immerse in an active experience- discovering the what through the how- the specificity of a moment.

Moments, hopefully, reveal themselves unexpectedly. 
Choreography is the aesthetic approach that defines my arrangement of the combined moments to be seen. It is much about making decisions that impose meaning on what exists.
I see it as a conscious process of assembling, interrogating, interfering, and witnessing the relationship be-tween what is, how it is working, its appearance, what it could be, and what didn't happen. 
What is-  the structured experience we perceive now. 
What could- the infinite number of the different aspects to one single experience.
It involves order and chaos and the attempt to reach harmony; with one hand, the act of exploring, with the other hand, grasping.

Often, I start with a simple question or an idea, which may introduce a limitation. 
The limitation thus poses a problem.
Problem is explored and expressed through the physical body.
Problem disrupts the natural bind between movement and body.
Problem is somehow immanent to the process; it is both the source and the resolution.
One informs the other.
Problems are invisible at the end product but manifest the dancer's attention and physical qualities and define the conditions and terms in which dancers move.

Bodies are the tools for interrogating different ideas; physical, intellectual, poetic, subjective, emotional,    historical, social, musical, etc.
Movement is the motor for imagining patterns of existence.
Movements are the patterns we live by. They are everywhere. They are in between, ephemeral, tangible. Imagination searches for patterns that connect and formulate a vivid structure-aware of the existence we live by. 
Imagination might be the act of seeing something familiar in a new way. It shifts the conceptual frameworks in our heads to new ways of seeing.

I am interested in the relationship between mind and body- qualities of attention, what we think of things, how we do what we do, our body, and its properties.
At times, I communicate with different artistic disciplines, crossing the boundaries to neighboring worlds such as; documentary theatre, ethnography, poetics, and the visual arts.
I am interested in combining movement with voice and language and wish to celebrate the richness of possi-ble perspectives that can be embodied on and off stage.
I am curious about different disciplines that imply specific aesthetics and structures to systems.  
I prefer the experience rather than the illustrative.
I am curious about the gap between what is and our perception to it.
I ask to reach one person's eye and soul.
I think it is about finding the courage to say, "Yes, I know I dont."
I know it is interested in appearing as one thing.