The body as evidence

When discourse becomes too abstract, the work often returns to bodily fact: a mouth producing language, a hand making a sign, a performer landing badly, a nervous system reacting before interpretation, a person walking through a city or a body carrying damage that cannot be argued away.

Movement as composition

Walking scores, wrestling, dance, gesture-driven music and movement instructions treat bodily action as a compositional substrate rather than illustration. The recipient can sometimes understand a work by doing something before they can explain it.

Damage without transcendence

Pain and injury are not automatically redemptive. They can produce knowledge, alteration or another form, but the corpus repeatedly refuses the idea that suffering guarantees improvement or that a damaged body must return to an original state.

Selected works

Crossings

Movement / Oral Choreography · Score / Protocol / Instruction · Finality / Continuation / No Recovery · Body / mind / sensation quotations