STATEMENT OF WORK

My interdisciplinary practice incorporates pageantry, puppetry, stop-motion animation and installation to build theatrical and playful worlds that draw from the past to probe the present and speculate on the future. My work aims to question how systems of classification shape behavior, how the observer and the observed, human and animal, are defined and redefined within the context of a rapidly changing climate.

I work with accessible and rudimentary materials such as papier-mache, paper-clay, aluminum wire and cardboard tubes to build armatures for puppets and sculptures of varying scales and proportions. Recycled fabrics and applique textiles create tapestries that record current events that unfold through community based performances. 

The medieval folktales, illuminated manuscripts and iconography I examine often express pre-Enlightenment worldviews, where logic was shaped by religion, the unknown, and wonder.  

Ancient texts like Pliny the Elder’s Natural History (77–79 AD), where fantastical creatures such as the Sciapod, coexist with early scientific observations, inform my interest in the persistent role of myth, spectacle, and disinformation.  In medieval bestiaries, moral allegory and imagined biology merge into grotesque, hybrid creatures that express anxiety, transformation, and the limits of reason. 

My recent work reimagines historical narratives like the Dancing Plague of 1518 and The Pied Piper of Hamelin, fragmenting and suspending physical gestures to reflect contemporary experiences of collective movement, social and ecological unrest, and psychological overload.