BIO

Artist Statement 

Rooted in the intersection of performance art, choreography, and text-based research, my practice engages the body as a critical site for memory, resistance, transformation, and as a vehicle for embodied experience and archiving methodologies. Informed by training in contemporary dance and visual arts, I create time-based works that interrogate the relationship between gesture, perception, and the conditions that shape embodied knowledge.

Rather than treating performance as representation, I approach it as both methodological tool and critical form—a spatial and temporal negotiation wherein the body transmits historical residues while also assuming oracular potential. I conceive of the body as a generative site of epistemic friction: a medium capable of disrupting dominant narratives and opening space for relational knowledge. My durational actions engage heterogeneous temporalities—repetition, stillness, extended presence—and often unfold in dialogue with natural environments. These are not aesthetic backdrops but compositional structures: sonic landscapes and dynamic sources of movement that recalibrate perception and attention.

The organizational logic of movement in my work emerges from a choreographic sensibility that privileges structure over form. I construct frameworks through scores and instruction-based systems that respond to material conditions—gravity, erosion, accumulation—and operate across disciplinary boundaries. Rather than producing fixed or virtuosic movement, these choreographic protocols generate responsive actions that emphasize friction, duration, and co-presence. Informed by ecological processes, this approach conceives of movement as something contingent, embedded, and shaped by external forces.

Far from operating as a supplement to live performance, writing constitutes a parallel compositional system within my practice. It informs not only the conceptual scaffolding of each project but also its temporal, spatial, and choreographic structures. Textual materials often take the form of scores, diagrams, protocols, and spatial instructions—each functioning as a generative framework rather than a descriptive tool. Drawing from critical performance theory, decolonial epistemologies, and experimental poetics, my engagement with language privileges resonance, fragmentation, and indeterminacy. Rather than clarifying meaning, text in my work modulates rhythm, encodes affective states, and reorganizes perception. It operates architecturally, constructing a second layer of the performance—a discursive space activated by, and inseparable from, the body.

Throughout my career, I have developed and presented works across institutional, geographic, and disciplinary boundaries—museums, biennials, public sites, and research-driven platforms across the Americas and Europe. What unifies these diverse contexts is a methodological commitment to site-responsiveness and conceptual integrity. Each project is articulated as a singular response to the social, spatial, and historical conditions in which it operates. This allows the work to remain adaptive, shifting between installation, performance, and sound composition, while maintaining a clear conceptual framework grounded in embodied research and critical thought.