I’m drawn to the messiness of the in-between—where human meets non-human, wild meets domesticated, and where beauty and decay blur together. The gray areas both excite and terrify me, and that tension is what fuels my work.
I move between and within forms—performance, music, visual art, farming, herbalism—often feeling like a creative handyman rummaging through a van full of tools, searching for the right one to shape whatever wants to come through. Whether I’m making a collage, performing a death-puppet dance, bringing a character to life on stage, singing a love song for a lost animal, or making salve from herbs in the garden, I’m always trying to reveal the magic, weirdness, and intensely beautiful, frightening, and erratic experience of being alive on this planet right now.
My work invites audiences into close, charged proximity, where the performance can offer something tender, uncanny, and emotionally risky. I’m particularly interested in how presence, subtlety, and ambiguity can shape audience experience in a cultural moment dominated by spectacle and certainty.
My process is collaborative, research-driven, and oriented toward crafting theatrical portals—spaces where the ordinary becomes mythic and the past resonates urgently within the present. Ultimately, I hope to create work that encourages us to shed something, to grieve and question, to dig deeper—and maybe, if we’re lucky, to emerge a little bit wilder.