win.place.show (2016) investigates a set of interrelated themes: the pressures of accomplishment and achievement, the demands of perpetual productivity, and the many ways of "being" in the daily race. Working with cultural markers of competition (track suits, trophies, winners' podiums), the piece reveals structures that shape our expectations and experiences. Performance History/Future 7.2017 Memorial University, St. John's, Newfoundland, CA 7.2017 Gibney Dance Center, New York, NY 7.2017 Coventry University, Coventry, England, UK 2.2017 University of North Carolina Charlotte, Charlotte, NC 9.2016 Davidson College, Davidson, NC Credits Music: Queen, Survivor Dramaturg: Jeanmarie Higgins Original Lighting Design: Neil Reda Photo: Jeanmarie Higgins
       
     
projects / win.place.show.
placed  (2015) delves into a perceived prerogative of our current cultural moment—the imperative to continually and constantly "perform." The dance's composition asks us to physically and psychically navigate a system of defined roles, perplexing rules, and opportunities to negotiate what it means to win.  Performance History/Future 10.2015 Manship Theatre, Baton Rouge, LA 9.2015 University of North Carolina Charlotte, Charlotte, NC Credits Music: Queen, Survivor Dramaturg: Jeanmarie Higgins Original Lighting Design: Gordon W. Olson Photos: Chris Record
       
     
projects / placed
hours, lawns, and in between (2014) asks how time forces us to understand ourselves. The piece works through the structures that time creates, the demands of “keeping time,” and the experiences of time passing to experiment, physically, with how we perceive time and how time functions in our lives. Performance History/Future   5.2015  The Dance Complex, Cambridge, MA 1.2015   University of North Carolina Charlotte, Charlotte, NC 8.2014  Davidson College, Davidson, NC Credits Lighting Design: Neil Reda Photos: Davidson College, Chris Record
       
     
projects / hours, lawns, and in between
and how to be in two places at once  (2013) instigates questions about connection, intimacy, and presence in a digital age. How can I be present (here) with you (there)? Can I feel you when I can't see you? Is online interface enough? Physically proposing and responding to these inquiries, the work plays with the possibilities of liveness and video mediation.   Performance History/Future 5.2015 The Dance Complex, Cambridge, MA 1.2015 University of North Carolina Charlotte, Charlotte, NC 8.2014  Davidson College, Davidson, NC 4.2014  Colby College, Waterville, ME 9.2013  University of North Carolina Charlotte, Charlotte, NC Credits Dramaturg: Jeanmarie Higgins Technology Assistance: Trevor Hess Original Lighting Design: Gordon W. Olson Lighting Design for performance at Colby: Jim Thurston Costume Design: Lisa Lantz Photos: Davidson College, Mika Mintz, Chris Record
       
     
projects / and how to be in two places at once
Like a turtle without a shell, or crow’s feet (2012) ruminates on physical sensation and our own histories of embodiment. A 30-minute work, the piece contemplates breaking down, healing and revitalizing, offering empathy and locating self-knowledge, deteriorating, and doing it all again. Performance History/Future 5.2015The Dance Complex, Cambridge, MA 8.2014  Davidson College, Davidson, NC 3.2014  Colby College,Waterville, ME 4.2013  University of North Carolina Greensboro, Greensboro, NC 4.2013  Queens University, Belfast, Ireland 4.2013  Spoke-the-Hub, Brooklyn, NY 9.2012  Luther College, Decorah, IA 9.2012  University of North Carolina Charlotte, Charlotte, NC Credits Music: Johann Sebastian Bach, Boat Club, Cyndi Lauper, and Clem Snide Original Lighting Design: Gordon W. Olson Photos: Gordon W. Olson, Mikale Kwiatkowski
       
     
projects / like a turtle without a shell, or crow's feet