I grew up in the visual arts. My medium of choice was drawing and painting. When I began as a performer, those earlier impulses led me to create image-driven work and movement-based theatre. But what I remark most about my work today is its international influence. My love for different cultures and theatre has taken me across the globe to study Theatrical Biomechanics of Meyerhold in Perugia (Italy), Jingju, an acrobatic form of Chinese Opera at the National Academy of Chinese Theater Arts in Beijing (China), and more recently Wayang Kulit, the traditional Balinese shadow puppetry (Indonesia). These theatrical forms are often perceived as strictly codified and tightly structured. However, I’m precisely interested in the creative tension that exists between innovation and creative expression on one side, and tradition and structure on the other. I believe this tension is central to great theatre.
Perhaps, it’s then more apt to say that my work is adventurous: my form is stylized, precise but still bounces back and forth between visual and textual forms. If I have an over-arching artistic goal in the coming years, it’s to find the middle ground that marries both.
As a story-teller, I’m interested in making audiences work. I’m interested in what we don’t understand rather than what we do. I believe that our lives will remain essentially mysterious, and I want to tell stories in which the audience experiences mystery itself. I choose possibility over probability.
I want to approach performance as a way to connect with the unseen and the unknown, to make the intangible, tangible. And that’s the most interesting role theatre can have in our lives and our society.
My resume here