When I was learning to write, I put a pencil in each hand and wrote with both, simultaneously drawing the same letters, mirroring each mark, moving from the center to the outsides of the page. My teachers took my pencil away, made me sit on my left hand, until they believed this impulse in me to be satisfactorily erased.
I make performances to excavate this kind of information living in my body and to give utterance to my particular existence. The translation of interior information is ever inexact and the fickle nature of language is what I find myself recursively examining in my work, language understood in a most basic form as the intent to create a system for meaning to traverse a threshold.
My current body of work is developing an embodied visual language. I create systems with objects that question how my body and an object can mutually constitute and catalyze one another. I spent my formative years around Bread and Puppet where I learned about giving life to things. At some point, I realized I do not believe in the inanimate and that things around me are giving life to me too. I am interested in the dualist notions that language hinges upon, interior and exterior, the self and the other, the witness and the actor, animate and inanimate. The utterance transforms across these thresholds and I am curious about the potential experience of embracing these emergent, unfixed spaces in between. Presence is restorative. Presence, with the self and shared among many, eclipses the seeming impermeability of these fixed points of interior, exterior, self, other.