The more subtle, the better. 

continue to un-expect everything
continue to question what is at stake
continue to contemplate on the ways you are implicated
continue to soften towards porosity whilst practicing setting firm boundaries
continue to tune into vibration to discern and dissolve the frequencies that are no longer needed
continue to demand accountability and justice for survivors, & for all BIQTPOC folks, past, present and future
continue to find ways to channel the anger and rage para que no te coma vivx
continue to inhabit paradox as methodology for creation
continue to pray as methodology for manifestation
continue to speculate on the limitations and strengths of performance, performing, performativity
continue to say YES to bodies as flesh, as cared for, as interdependent, as not mutually exclusive
continue to decentralize yourself whilst remembering the importance of autonomy and community
continue to cast spells as a way to make love 
continue to flirt and learn to be with discomfort
continue to disrupt the dichotomies 

My belief is that every action is a choreographic act and that all things  material and immaterial have a consciousness to them. If we erode the materiality of things, including our bodies, we soon begin to see that we are constituted of the same stardust-matter. Fires coalesce into black and gray ash, water erodes the fortress of stones into molecular gems, wind aids with cross-pollination; everything in a constant state of perpetual dissolution from one state to another. Energy simply knows how, when, and where to pass through. These truths give me hope that choreographic kinetics are a valuable tool for reconfiguring our world. It is towards and through play, rigorous attention, paradoxical encounters, and engendering alternative structures of intimacy that my work unfolds. 

Ecology as relating to trauma, living archives, alternative economies, BIQTPOC-ness, phenomenology, sex-intimacy-pleasure, Spirit, ancestry, healing, positionalities, borders.

 

Choreographic excavation that uses movement, duration, repetition, site-specificity, Tarot, boredom as generative state, wandering, cooking, alchemy, empathy, fecundity & fermentation, the underground, rhizomaticity & plasticity of memory, cartographies, simmering-ness, viscosity, amongst other tools, strategies, and gestures. 

 

Socially engaged praxis as the bridge between the work that occurs in and outside of studio spaces and considers potential and alternative forms of transmission including: think-tanks, books, pop-up installations, secret performances no one gets to see, secret performances for someone who isn’t in the room, secret performances for one person only, porn short-films, lectures, workshops, platicas, parades  y mucho mucho mas.

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