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, I use performance as a form of inquiry, allowing embodied knowledge generated through rehearsal to reorganize the dramaturgy as the work develops. These methodologies generate participatory performances, one-to-one encounters, performance-for-camera works, and site-responsive projects in which knowledge and meaning are produced through embodied experience rather than simply represented. My participatory work does not presume community as a stable, pre-existing group. It asks how relation is produced through encounter, what becomes possible between participants, and whether responsiveness can continue after the performance ends.

Translation is both my method and my material. Working with collaborators and participants across English, Farsi, Spanish, Korean, Italian, and Dutch linguistic contexts, 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 individual self, I approach it as a material force that travels through bodies, places, technologies, and listeners.

My performances 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, 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.