“A sexy, weird, anarchic treat, Pitchin’ The Tent sets the Fringiness bar by which I will judge the rest of this year’s festival.”
Washington City Paper

“fantastically fun and delightfully subversive”
DC Theatre Scene 

“These three goddesses of rock ‘n’ roll will have you dancing in and out of your seat with their tour de force choreography and performances.” -Rick Westerkamp
DC Metro Theater Arts

“provocative, intellectual and daring.”
Washington City Paper

“both visually and conceptually interesting.”
DC Theatre Scene

“[our] hope to offer a space for a mix of artists to test works-in-progress and push boundaries.”
The Washington Post


Responses to
Structure, Content and Emotion:

A number of comments have addressed the simplicity of my work.  A peer described my pedestrian dance study 11 20 AM as “an exquisitely simple and compelling exercise to watch.”  In reference to my dance film, frontman, a peer wrote, “you worked simply and effectively – When I say simply I am not implying you did not work hard to make this video. I am referring to how easy it is to watch. You seamlessly shifted from angle to angle without the viewer realizing how you were manipulating our view. You weaved us through the piece without upstaging the performance.”  In finding how to communicate my ideas as clearly as possible, I describe what I am doing from an honest and thoughtful place.  My writing has been described as, “from the artist’s perspective … we need much more of that in our field.”

My work has brought up questions of the female commentary on male, women performing8098777500_53db70964e the male experience combined with the androgyny of the performers.  These questions have conjured images of perfume ads, models fidgeting, and reaching for someone’s attention.  To express these images, my peers have pointed out repeated movement motifs like expressivity in the hands and fingers, direct elbow/knee movements and spreading legs in a seated pose.

As my aesthetic has evolved, I have experimented with costuming, music and sites for my work.  In the dance film frontman, my peer commented that the dancers have, “very complete looks and different from each other.” He also mentioned that the costuming is in line with the gender theme of the film.  For Urban Swim, I received multiple comments about my hair as a prop.  Many mentioned the sites of my work in their comments.  Here are two about the bars of the fence and the streetscape in 11 20 AM:

1120AMstill“Great framing – the bars made me feel like I was spying and ‘in the know’ of what was happening. The horizontal-ness of the passing cars, other walkers and you were in contrast to that.”

“the layers of the setting (bars/human speed/ cars parked and not moving/cars, trucks traffic moving both directions at high speed/ static buildings across the street) was very interesting and demanding attention. The people walking by including you were quite dramatic and your rendition of character excellent.”

For frontman, a peer commented, “the location of the subjects up on stage begs for an audience that they could be pouring themselves out to. I don’t sense competition between them, but certainly an indulgence in the attention a “front man” might get from a bunch of screaming fans.”

The emotional responses to my work have ranged from joy to discomfort to innocence. Urban Swim elicited a sense of freedom.  The blue tint in Dude III brought the viewer joy.  In Dude, the view felt defensive and aggressive.  And in Porch Dance for Two: PDX & DC, the study, “challenged the viewer’s mind as well as visual understanding.”


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