Artist Statement

I am a movement and visual artist born and raised in Oregon, currently based in Brooklyn, NY. My practice spans choreography for solo and ensemble performance, short films, and digital and video illustration for live work.

For the past seven years, my artistic trajectory has been shaped by a profound physical reality: I have sustained more than fifteen concussions. Living with permanent brain damage and chronic post-concussion syndrome as a result of traumatic brain injury (TBI) has fundamentally altered not only my choreography, but my relationship to dance itself.

During acute rehabilitation periods, I am restricted from jumping, spinning, or elevating my heart rate — constraints that require me to continuously reconstruct my movement vocabulary. This negotiation between capacity and limitation has become central to my practice, shaping a physical language I describe as softly violent — visceral, restrained, and demanding. What kind of power emerges from restriction? In pushing against neurological limits, I do not seek to overcome injury — I seek to make it visible, to choreograph it, and to transform it into language.

Alongside my choreographic work, my visual art practice functions as a living archive — a memory bank of experiences I am determined to preserve. Navigating life with TBI has heightened my awareness of memory’s fragility and the limited research surrounding the long-term effects of brain injury in women, particularly in contrast to the extensive study of male sports-related trauma.

Since 2021, I have incorporated Heart Rate Variability (HRV) tracking into my training process, using it to prepare my body for performance while minimizing concussion symptoms. The work I create tests the edges of endurance, but it also embodies ongoing emotional and cognitive recovery.

My work exists at the intersection of limitation and defiance. I approach virtuosity not as spectacle, but as precision, restraint, and resilience. Through this practice, I aim to expand conversations around TBI, memory, and the female body in recovery. The stage becomes a site of resistance, remembrance, and repair.