I devise performances by developing systems for breath, voice, movement, translation, and listening. Combining actor training, somatic vocal practice, improvisation, artistic research, and site-responsive composition, I use rehearsal to build embodied scores in which the body becomes a research instrument. Through tasks, constraints, and physical and vocal experimentation, the dramaturgy of each work emerges through making. These methodologies generate participatory performances, one-to-one encounters, performance-for-camera works, and site-responsive projects in which meaning is produced through embodied experience rather than simply represented.

Translation is both my method and my material. Working across English, Farsi, Korean, Italian, and Dutch, I translate not only between languages but also between bodies, gestures, sound, architecture, and experience. Through voice, choreography, performative writing, and spatial composition, I create conditions in which listening becomes an active and collective practice. Rather than treating voice as the expression of an isolated self, I approach it as a material force that travels through bodies, places, technologies, and listeners.

I create performances that place questions of speech, movement, memory, and belonging into embodied situations, asking what bodies can continue to generate under conditions that attempt to regulate them. Recent works, including Sounding Justice and Antigone Entombed, develop performative vocal practices across theatres, galleries, public spaces, radio, and moving-image contexts. At a time when public discourse rewards speed, certainty, simplification, and polarization, I make performances that slow communication down and invite audiences to experience translation, embodied attention, and collective listening as practices of resistance, relation, and social imagination.