My art is me going off on a rant. The rant itself = social (problems + movement). Movement because bodies deal with feelings, and I want people to come out feeling. Problems because I tell stories, and stories need conflict that invites possibilities, corrections, and connections.
So, I embody social problems with movement. These problems unravel in theatrical ecosystems that test the body like an experiment and the audience like a mirror. Absurdity and surrealism anchor stories of grief, while criticism exposes how injustice lives in the space between bodies and minds.
Inside this tension, I push my limits in endurance, risk, vulnerability, character, and collaboration. Performing at my embodied maximum, I remember that while my body is fragile, my art can be limitless.
And yet, while there are limitless ideas, most of mine stay grounded in queer, feminist thought where satirical myth mutates into dark, grotesque contemporary realities and back again. Masculinity takes the stage, wearing a body filled with curves, creating power-plays that tangle the oppressor and oppressed. My South-Asian ancestry weaves its way into the room, accompanied by mythological figures who resist platitudes. Conceptual ideas are nourished through interviews, physical practice, and lived ethnographies of varied lifestyles. Performance and improvisation edit ideas into cohesive worlds.
Throughout, I intuitively work against containment to build collaborative, multidisciplinary performances that slip between genres to find their truest form – forcing Western distinctions between dance, theater, politics, and performance to be eschewed. Where language fails, the body speaks, and where the body quiets, language expresses the mind’s inner workings.
At the end of the day, there are endless ideas worth ranting about and endless problems to solve. In the safe space of a theater, I want to encourage us all to try. I want to give people something to rant about.