From Dancer to Transdisciplinary Artist
My dances can be comedic, conceptually driven or deeply somatic. They’re decidedly in-between cross-genre and genre-less, in a way that is my own. Traces appear, inscribing their essential value in the space, without promising repetition. A new way of choreographing emerges.
I combine instant composition and predetermined choreography to link the unconscious and concepts related to “being dance” in a “doing society”.
I trained in Improvisation, Modern, Post Modern, Contemporary and Senegalese Dance.
I was a close collaborator as an improvisational-choreographic force with musician Paul Sprawl and dancer/teacher of Contact Improvisation and ensemble composition, Nita Little for over a decade. I’ve also performed for choreographers Annouk Van Djik, Rosy Simas, Tandy Beal and Scott Wells.
When choreographing or teaching, I work with a method called (un)Threading Dance, to invite a range of embodied states, liberated movement and physical, artistic flow. It provides tools for sourcing forces- within the bodymind, in the field and in collaboration with people and place.
I offer Embodiment Field Somatics to groups and individuals for health and wellbeing, by emphasizing sustained pleasure in movement, breath and creative emergence. The work is a combination of qi gong, BMC, self-reiki, creative play movement and self-regulating, healing embodiment.
In the evolution from dance artist to transdisciplinary artist, I’ve developed a strong visual sensibility across dance, theater, video and image making.
In the past 3 years, a combination of building off-grid in the Chihuahuan Desert and fated lockdowns made my video and print work more prolific.
I present video art to encourage exploratory freedom in embodying the imagination and to encourage thinking through aesthetic modes. My videos have been part of performance installations in theaters and public spaces, film festivals, residency showings and on online platforms such as Vagabond Streams and other social platforms.
I’m interested in viewers taking part in something undogmatically spiritual through focus on artistic embodiment, humor and a sense of being at home in the creative process. LEE LEE ET LE BUS, a 50 episode series, is an example where merging of life and art illuminated how embodiment practices liberate one’s creativity and can be done anywhere at anytime. The work integrated vocal and recorded sound and was edited with special attention to time, as a way to highlight Presence in the natural world. Filters, animation and color saturation emphasized imagination exercised while enduring lockdowns.
On tour and at awarded residencies, I crafted a series of FOUND INSTALLATIONS, to surprise audiences by re-contextualizing what can be done in a public space by occupying it and then making video art from the creative processes and research that emerged from the immersive time in the spaces.
Lee Lee et Le Bus was a performative, visual and improvisational transdisciplinary weekly series. Often meta-comedic, it promoted insights about life, art and embodiment practices.
By 2022 l, I parlayed my video artist skills into printmaking, selling at galleries and pop-ups while hunkered down in the desert and during visits to family on the California coast (a couple of places where I spent the most time).
This Summer we sold our desert land project and left the US to live and work abroad, basing ourselves in Berlin, Germany, where many dancers, musicians and visual artists, thankfully, reside.