Performance
My performance work moves between contemporary and classical contexts, including stage, film, and interdisciplinary projects. I work fluidly across repertory-based structures, improvisational practices, and collaborative, process-driven creative environments.
Grounded in a strong classical foundation and extensive repertory experience, I bring technical clarity and musicality to the work while remaining adaptable within contemporary and improvisational settings. I am drawn to performance as a site of listening and presence, where precision and responsiveness coexist, and where movement is shaped through sustained attention to space, timing, and physical intention. Across varied performance contexts, I value work that remains rigorous while allowing for sensitivity, nuance, and immediacy in the moment.
Choreography
My choreographic work spans stage, film, and interdisciplinary contexts, grounded in contemporary movement practices and informed by a strong classical foundation. I approach choreography as a process of authorship and dialogue, working with dancers rather than on them, and shaping work through close collaboration and a clearly defined choreographic voice.
My choreography is built through intentional collaboration with dancers, guided by a distinct aesthetic and compositional clarity. I make considered choices in response to space and individual presence, shaping movement that is specific, cohesive, and reflective of both the performers and the environments they inhabit.
Education and Mentorship
My educational work spans institutional, professional, and independent settings, supporting dancers across a wide range of ages and stages, including children, teenagers, and adults, as well as pre-professional, professional, and former dancers. I approach teaching, mentorship, and rehearsal direction as forms of leadership, offering clear structure while remaining responsive to individual bodies, contexts, and long-term development.
Grounded in professional experience across classical and contemporary practices, my teaching integrates anatomy, physics, and somatic awareness alongside technical training. I do not subscribe to a one-size-fits-all approach to technique or learning. Instead, I work with dancers to develop physical intelligence, efficiency, and agency by understanding how their bodies function and adapt over time.
As a rehearsal director, I am proficient in coaching both classical and contemporary works, recognizing the distinct demands each requires, and I prioritize clarity, consistency, and care in supporting sustainable professional practice.
Creative Direction and Collaboration
My creative direction and collaborative work spans movement, image, and interdisciplinary contexts. I am drawn to projects that require conceptual clarity, aesthetic cohesion, and thoughtful collaboration, shaping ideas from early conception through realization.
I approach creative direction as a practice of discernment and alignment, attending carefully to how vision, process, and execution come together. I prioritize work that is visually considered, grounded in context, and attentive to both medium and environment.
As my practice expands, I am increasingly interested in building sustainable structures that support the long-term viability of artistic work. This includes exploring models that bridge creation, education, and economic infrastructure, with an emphasis on ethical training pathways and meaningful placement outcomes for dancers. I am drawn to projects that treat sustainability as a design problem, rather than a funding limitation.
In addition to my artistic and collaborative work, I am the founder of Ballet Trauma Club, a ballet lifestyle apparel brand and community platform rooted in shared experience within the ballet world. The project extends my creative-direction ethos by translating lived culture into accessible forms through design, humor, and storytelling, fostering connection without heaviness.
