My work exists at the intersection of chaos and control, combining time-based media and performance to create living montages. By integrating performance, moving image, painting, and sound I invite the audience to choose what to look at while watching different realities collide in real time. This spontaneous interaction of different elements doesn’t have a fixed meaning, but must be actively interpreted in real time, engaging the viewer in an interactive process.

Some pieces combine performance with video projections that serve as virtual sets to expand the stage beyond the walls of the theater. Some are hand-painted films, often with improvised music or sounds derived directly from an analysis of the visual data in the image. Some are watercolors made with melting ice, where the image is literally disappearing as it’s being recorded on a stopframe camera. I’m interested in things falling apart, then reemerging as something new.

The interaction of ephemeral elements with preplanned and rehearsed performances creates tension that is always unique. No two performances will ever be the same. I want things to feel both real and unstable— shifting, degrading, or slipping out of what they were a moment ago. That instability is the point. But that spontaneity can only be captured through hours of preparation and a rigorous devotion to detail. Rather than trying to resolve the tension between these approaches, my work comes to life in the space between them.