dance ceres

Chronicle Review, Columbia Chasing

2010-11-12T09:32:00.000-08:00

"Where structure is concerned, the complex physicality of Brittany Brown Ceres' "Columbia Chasing" made it the ideal program closer. A sextet for four women and two men, set to sundry techno and minimalist scores, the work etches shifting balances of power, often in successive phrases. A man lifts a woman and somehow he ends up, vulnerable, on her back. Maybe continuity slips occasionally, but the dancers led by Yukie Fujimoto (once of ODC Dance) and Roel Seeber were palpably convincing. The piece looked as if it was assembled with a watchmaker's eye for detail." -- Allan Ulrich, SF Chronicle 11/9/10
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/11/09/DDRU1G9CJG.DTL

great note from a audience member

2010-11-09T09:29:00.000-08:00

Columbia Chasing- I loved every step - why I go to dance performances!!

Ms Ceres, I loved Columbia Chasing - Monday Night at Cowell. Your dance is why I attend so many dance performances. To see that, your choreography, dancers and "spot on" music selection. Am still listening to "Nurse who love me" over and over again. I'd like to write to you more about parts of your dance. (There's a tie in to your ending and Eugene Loring's Billy the Kid) If you send me your email addr I will write something up for you: jimtobin@yahoo.com. And my dance blog is: www.BayAreaDanceWatch.com. I write what I call "blog essays" about SF local dance performances. Thanks again Ms Ceres, for giving me the gift of steps and music Monday night, and another reason to keep attending dance performances! My Very Best, Jim

REPLY: Hi Jim,
First of all, pls call me brittany and second, I am very honored by your attention and thoughtfulness. I too ended up really liking the piece after several incarnations over the past nine months! The music was difficult from the beginning so im glad you enjoyed it. I had a hard time letting go my formalist/academic roots, as id cinsider some of that 'pop' music... But I finally just went with my gut and chose something I really liked-- something that pulled soulfulness and movement from me in equal portions beyond my control.
It all came together finally with the right combo of rush and pool... Like life I guess. Sometimes when you're swept away beyond your control you just have to go with it-- and you might as well respect the process, if not love every minute!

Columbia Chasing premieres November 8

2010-10-15T19:29:00.000-07:00

As promised...just a quick note to ask you to 'save the date' for our latest new work! We'd love to share this final performance with you on the glorious Cowell Theater stage!
This is a rushing, detailed and luscious piece that swirls and pulses to reconstitute and heal even the most challenging of life's personal trials. Come watch this stellar cast speed across the stage in deep physical communication to land in balance and profound resolve.

Sharing the bill with us are 4 other incredible choreographers: Lisa Townsend • Lisa Townsend Company • Lisa Townsend Company's Web Site; Erika Tsimbrovsky • Avy K Productions • Avy K Productions Web Site; Robert Dekkers • Post:Ballet • Post:Ballet Company Web Site; Andrew Skeels • Andrew Skeels' Web Site

As always, thank you for supporting llive performance!
Cheers,
brittany WestWave Dance Festival presents dance ceres' latest new work...

Columbia Chasing (premiere)

Wash out the human in me and let me be like the river...
Choreography: brittany brown ceres
Music: "Voicething" by Alison Goldfrapp & Will Gregory; "Water Vapor" by Aomeba; "The Nurse Who Loved Me" originally by Ken Andrews of Failure, performed by the Section Quartet
Costumes: Kate Mitchell
Dancers: Yukie Fujimoto, Roel Seeber, Cari Bellinghausen, Max Cauthorn, Miranda Mallard, Becca Rozell With special thanks for significant developmental contributions to Stanford University's Bent Spoon Dance Collective, San Francisco School of the Arts, Joe Landini at the Garage (AIR Residency 2010), Anna Greenberg, Kirstin Damrow, Jenny Ward, Suzanne Beahrs, Rozelle Polido and the many many generous donors. http://www.danceceres.org/support.html

The Details
premieres Monday, Nov. 8 at 8pm

West Wave Dance Festival www.westwavedancefestival.org

The Cowell Theater at Fort Mason Center, SF
purchase advance tickets online https://www.fortmason.org/tm/tm.cgi?tmEvent/tmEventDefault.html?P_SEQ=749&
this event will sell out
or purchase by phone: 415/ 345-7575
If you reach voice mail please leave a message and your call will be returned promptly during business hours.

for more info on the work: http://www.danceceres.org/ColumbiaChasing.html

for some insight into a portion of the creation: http://performingartsclassroom.blogspot.com/2010/07/interview-with-jessica-goldman-gentry.html

The Artists

Yukie Fujimoto is a graduate of UC Berkeley and UC Irvine. She was a senior member of ODC/San Francisco and retired in 2005 to become the mother of two boys. She is currently on faculty at Mills College.

Roel Seeber started dancing in New York City, at age 10, break dancing with the 560 Breakers. After years as a downhill skier at UofUtah, he graduated cum Laude from Purchase College with a BFA in dance. In 2001, he joined the Limon Dance Company where he danced until joining Project Bandaloop in March of 2008.

Cari Ann Bellinghausen (littlecari.com) is a Chicagoland native who has been dancing for the better part of her lifetime. She majored in dance at the University of Illinois Champaign-Urbana and graduated with honors. She has performed in El Salvador, Costa Rica, San Diego, Chicago, New York, and San Francisco. In 2009 her company ×cari's tiny circus× debuted it's first full evening show. When she isn't performing, Cari operates the dog walking/pet care service: Four Legged Fitness.

Maxwell Cauthorn studied and performed with the ODC Dance Jam for 6 years prior to entering the San Francisco School of the Arts. He has studied with many Bay Area dance legends including KT Nelson, Elivia Marta and Gregory Dawson. Currently in his forth year of study on the advanced track at the San Francisco Ballet training program, Max is a junior in high school. He plans to pursue dance as his profession.

Miranda Mallard grew up in Fairfield, Iowa and received her BA in Dance and BM in Voice in '09. Mallard teaches dance at ROCO studios, teaches private voice and piano lessons and is also an assistant band teacher with the San Rafael public elementary schools. When not dancing, singing, or learning a new instrument, she likes to read Sanskrit, practice yoga, and give the Oneness Blessing (or deeksha).

Becca Rozell was born and raised in Juneau, Alaska and her teaching and choreographic career spans both coasts. In New York she taught at Peridance and worked with Andrew Janetti, Vanessa Paige, among others. She currently dances with Weber Dance, teaches at Roco Dance in Marin and is an artist with Performing Arts Workshop. Rozell's choreography has been presented in NYC, Saratoga Springs, D.C., Boston and the Bay Area.

Founded in 2004 by Brittany Brown Ceres, dance ceres, is an ensemble of dancers who devour the performance arena with weighted fluidity, extensions that reach through time, and a dynamically expressive commitment. Described by critics as, "swift and irresistible" (Allan Ulrich, Voiceofdance.com, 7/06) and "lucid and voluptuous" (Rita Felciano, SFBG, 12/07), the core inspiration of the work examines crisis and resilience through intricate and energetic dance. Ceres has produced in the San Francisco Bay Area at West Wave Dance & numerous Bay Area Theater venues and educational facilities, as well as Portland, San Diego, New York, New Zealand & at the American College Dance Festival.

It is the mission of dance ceres is to realize subtlety through action, individuality through community, immediacy through timelessness, and equality through art.

Pictured: Yukie Fujimoto and Roel Seeber, Courtesy of bbceres
www.danceceres.org

"Brittany Brown Ceres's dances are voluptuous and lucid. They are also finely crafted...for those of us who value imagination and brains, Ceres is a choreographer to watch." —Rita Felciano, SF Bay Guardian (12/07)

“brainy and luscious” –Rita Felciano, July ‘06

“Brittany Brown Ceres may be WestWave Festival producer, but her Simultaneous Solos, premiered at the top of the bill last Saturday earned its place through talent alone. -- swift and irresistible.” —Allan Ulrich, Voice Of Dance (7/06)

“Brittany Brown Ceres’s Simultaneous Solos [was a] stunners."—Ann Murphy, Dance View Times (7/06)

"Brittany Brown's Recollection - suggested we were in the presence of genuine craft and individual sensibility" —Allan Ulrich, Voice Of Dance (8/03)

Artist in Residence showing at the Garage, SF

2010-06-02T13:32:00.000-07:00

Incredible photos by the wonderful photographer: Elazar Harel, from our showing at the end of the Garage AIR residency!

Kickstarter.com - check it out!

2010-03-31T22:31:00.000-07:00

http://www.kickstarter.com/projects/danceceres/columbia-chasing-provocative-dance-performance-d

Be the first to pledge support for our 2010 season! $10 will do it - Follow the link to check us out on Kickstarter - this site is amazing! Huge Kuddos to the kickstarter folks in NY!

sometimes

2010-03-03T18:25:00.000-08:00

sometimes you do everything right and it still doesn't go your way... there would be some relief in knowing why, but you'll never get the time back spent in preparation. i suppose we try again anyway...

ceres studio

2010-01-23T10:44:00.000-08:00

new rehearsal channel to keep up moving fast on a short timeline!
http://www.youtube.com/ceresstudio

ceres studio - ceresstudio's Channelgreat free widgetsWidgetboxMore info

concepts across distance

2010-01-09T13:35:00.000-08:00

very cool to bridge great distances with art! Cher Irwin in new Zealand recently viewed dance ceres work on YouTube: www.youtube.com/danceceres and her interest in it and her reflections so perfectly illustrated parts of what we were working through investigation!
http://www.facebook.com/home.php?#/notes/cheryl-irwin/music-as-language/239924985764

her commentsblended so nicely with the conept of our work:
www.danceceres.org/indivisible
www.danceceres.org/Bodily.html
thank you Cheryl!

let me be more like the river

2009-12-06T16:34:00.000-08:00

…so human and yet so much more powerful, tolerable, compassionate.
What can we pull up from a river? water, soil, serenity, energy?
Giving life, sustaining agriculture, creating play, nurturing the land, changing in the seasons; Expanding and freezing, yet always flowing… even if only a single drip at a time. The river just keeps on going, when oftentimes, and eventually humans simply stop. We stop moving forward.
Wash out the human in me and let me be like the river.

Vast, with multiple tributaries – like a giant Italian family; or singular and reclusive - the only child as a tiny mountain spring. Imagine all of the curvature and rush making up flowing waters that build into a landscape and the fluid contribution to all that is our planet – in every direction, across every land. Pushing beyond banks or retreating, yet always flowing… even if only during a heavy rain. They just continue to live, when we get stopped dead in our tracks at the first sign of pain or confusion. In either great surprise or devastating shock, paralysis follows emotional confusion. And eventually humans simply let go of forward momentum; if not finally, at least for a time to catch up.
This is no option for the river.

The river continues-- it does not sleep, but it devours ravenously. It nurtures, but it does not care. It simply exists in the thoroughness of movement – regardless of the destruction, of the drowning, of the rapids, the damage, the chaos. There is no judgment, only growth and functionality.
Is it ruthlessness, inconsideration, oblivion?
Or is it forgiven in its naturalness, in its inevitability? Maybe we understand the endlessness because there is no mechanism for stopping. Maybe because we want to believe that things can live free and without bridled consequences. Perhaps it is only us who need restraint, as we have cause and meditation and predication for damage – despite our own naturalness, our actions are not by accident. The damage we create is from decision, not biological unavoidability.
We are destructive to one another on purpose, for even the slightest difference, not inevitably… or is it inevitable? Human fear and confusion facilitates destruction, yet the river knows nothing of judgment or difference. Wash out the human in me and let me be like the river.

authentic leadership

2009-10-23T12:47:00.000-07:00

so as I lay low and collect my thoughts on the next project for dance ceres and possible winter auditions for new dancers... i've been given a great book: Authentic Leadership, by Bill George. obviously, i work at a start-up by day, so our environment is one where we are continually looking towards innovation in the work place and ways to do things better, so these types of books surround me!

But I am so grateful to have them reiterate what i have felt in my heart all along about anyone running any kind of business... INTEGRITY is key to being a great leader!

I wish i could read this out loud to a former employer:
"While developing fundimental, unique values is crucial, intergrity is the ONE value that is required by every authentic leader. Intergrity is not just the absence of lying, but telling the whole truth, as painful as it may be. If you don't exercise complete integrity in your interactions, no one can trust you. If they can not trust you, why would they even follow you?"
-Bill George

then there are other great moments like "competition needs to be channeled through purpose and discipline"

Or from David Gergen, "People will entrust their hopes and dreams into another person only if they think the other is a reliable vessel"

then of course, once he quoted Nobel prize winning Poet, Derek Walcott's "Love after Love" I was sold!

There will come a time when with elation you will greet yourself,

arriving at your own door, in your own mirror,

and each will smile at the other's welcome;

saying, sit here, Eat.

You will love again the stranger who was yourself.

Give wine, give bread, give back your heart

to the stranger who has loved you all your life,

whom you abandoned for another, who knows you by heart.

Take down the love letters from the bookshelf, the photographs, the desperate notes.

Sit. Feast on your life.

I seek nothing more than to inspire others the way i am inspired by so many! I will let the next project evolve out of this passion.

'profoundly affecting' - very humbling!

2009-07-02T13:25:00.000-07:00

To our satisfaction we were reviewed favorably by the critical press, as well. Mary Ellen Hunt wrote, in time to sell-out our final performance:
“Ideas of attachment and separation are sharply drawn in Dance Ceres' "In/divisible," presented this weekend as part of the Queer Cultural Center's 2009 Queer Arts Festival at CounterPULSE, where the company is an artist-in-residence. But what impresses the most about this engrossing work is how a carefully plotted structure and meticulous direction can uncover the richness of movement.

Choreographer Brittany Brown Ceres has been honing "In/divisible" for a year and a half, and the result is a smart, well-focused and tightly paced assemblage. Brown and her dancers have devised a compelling landscape in which gestures from the hieratic to the ecstatic reflect a turbulent internal world. Even though successive episodes - set to recordings by Theo Bleckmann, Ben Monder, Ramiro Musotto and the Bad Plus - develop a kind of ritual solemnity through repetition, the piece as a whole maintains an organic pulse and appealing contrasts in rhythm.
Although the company members vary in size and type, dancers Cari Bellinghausen, Rebecca Gilbert, Claudia Hubiak, Erin Okayama and Sarah Sandoval contrive to project a common internal motivation that gives "In/divisible" a clear movement consonance without being a dry exercise. Indeed, the last image of jittering arms set off like jangled nerves as a single dancer wanders slowly among the others is finally profoundly affecting.” (-- Mary Ellen Hunt, San Francisco Chronicle; June 6, 2009)

Sometimes art facilitates, and sometimes it rides along side trying to keep up.

2009-05-14T11:16:00.000-07:00

Random notes- distilling
Using movement to unlock experiences, emotionally stored in individual physiological spaces, in order to distill their characters into a comfortable understanding so as To activate self alignment with community and cause. Allowing for unity- deep alignment wherein experience is indivisible from time and self. Dear history- Who is listening?

Folding in your thought, opening in your touch

Divided Mind

Sand bagging

Aligning North-progressive movement aggressive challenge

Indivisible- self from time, time from past, experience from present, all thing?

Here's a little WINDOW inside my head-- travel always makes me pensive and hyper-focused. Sorry it's taken me so long to unlock some of this.

Metaphorically Let's do this:From the very start: claudia takes a more direct role- her action twist and bend your experiences... The idea that claudia is all of history- that which has happened before and everything in this instant gets recorded on claudia- she then has the ability to transmit, predict, remind, conjure, clarify, record moments and guide you, propel you or hold you back.. Sometimes you listen to her, sometimes you ignore or repress her involvement- other times you actively try to rewrite.Then there are times when you fight or don't sync up with history- holding in a state of confusion of repetitive winding and unwinding, sorting and resorting in search of a clear path.There are also other times wherein you spend time listening to your experiences and connecting the historical dots- learning from others mistakes to gain ground and time to make your own on a deeper or at least different (non-repetitive) path.Which times are we which kinds of people?

Structurally- claudias 'back seat' in the majority of the dance upstage will facilitate her conjuring character.She will not enter down the wall with everyone, but rather at the last moment in order to hit the opening note. In times of unison history is always present. So the piece will function in and out of communication with history. Similarly to how I asked you to define your level of connectedness to the midline.There are emotions that remain constant, omnipresent- such as is the case with Sarah and Erin in supporting roles- often complimentary, but sometimes exaggerating or amplifying a situation or thought or action. These are immperetive to the stage for both balance and guidance.

In the cases of Rebecca and Cari- I'd like to loosly define 'captured' or remaining in the 'past tense' for moments wherein claudia and rebecca are dancing. They will repel or reflect eachother only to stay stitched together from opposite sides of the line. And 'collecting' for times when cari and claudia are together. Cari will absorb and grow from her interactions - will continuing to participate as an equal. Making the cari-rebecca retrograde battle a distinct face off or pursuasive interpersonal dialogue between present self and historial self. (during which the ghost phrases with be small and exaggeratedly slow and haunting).There is certainly a more for me to clarity structurally and transitionally- but this metaphoric decision will help guide those final choices.

This may be abstract work- as is my medium- but it is becoming more clear to me that in my social commitment to equality, I easily recall the past-- not just my experiential past, but the historical past that clearly outlines progress as community aligning towards equality. Despite convoluted emotional content, it remains easy to dig through each experience for the truth and move forward in clarity and with collective purpose. These are the qualities, people, ideas and ideals which I collect into my sightlines because they reflect back to me my comitment to the pursuit of joy and ultimately, peace. It takes time to unweave years of storage to reveal that which is core-- that which feeds you in reflection. Core is the new startimg block. Sans baggage. Call it simple, but it is a new time and all parts of life are distilling into essence. Sometimes art facilitates and sometimes it rides along side trying to keep up. Either way, a comfortable companion, even in all it's challenges.

in/divisible at the SF QAF

2009-04-23T11:10:00.001-07:00

come check out dance ceres at CounterPULSE in San Francisco June 4-6 as a part of the National Queer Arts festival! http://www.danceceres.org/

Mentoring at the Vision Series

2009-03-11T11:05:00.000-07:00

As an educator - it is important to participate in the lives of maturing artists. Dance Ceres performned at the Vision Series on Sunday, dancing Shade with our new/complete cast: Cari Bellinghausen, Claudia Hubiak, Rebecca Gilbert, Erin Okayama & Sarah Sandoval. Performing together on the prestigious stage at the Cowell Theater Fort Mason, our buddies were students from Lowell High School and George Washington High School. Both Buddy works were choreographed by student dancers and were met with HUGE applaus! Congrats Buddies!
Mission
The Vision Series provides educational and professional performance opportunities to an innovative cross-section of dance artists. It develops and presents the diverse visions of high school dancers, professionals, emerging choreographers, and academic instructors, regardless of individual experience or expertise. This education project expands knowledge, provides mentorship, offers support, cultivates artistic exchange and increases the exposure of modern dance as an art form to the general public. Here, artists are supported and given the framework in which to grow and flourish. http://www.dancerepertory.org/VS.html

After tech, a little lunch time in the sunshine on the dock and a quick nap before heading back into the Theater.

in/divisible

2009-02-19T10:06:00.000-08:00

in/divisible
world premiere dances by Sonya Smith & Brittany Brown Ceres

Thursday – Saturday, June 4-6, 2009
all performances at 8pm
CounterPULSE
1310 Mission Street, San Francisco, CA 94103
$15 General Admission, No one turned away for lack of funds.
Please visit http://www.brownpapertickets.com or call 1-800-838-3006

A voyage of sensual entwinement, in/divisible spins assumptions of duality, fortifying a journey from despair to empowerment via social change. Unraveling emotional side-swiping, trust-tumbling and free-falling, reveals the division between human instinct and social tyranny. With gravity free choreography by aerialist, Sonya Smith & and gravity bound choreography by movement ornamentalist, Brittany Brown Ceres, in/divisible is a evening themed by choices which alter self knowledge and societal lore. Smith & Ceres navigate metaphors of intra- and interpersonal entanglement, hidden limitations, and visceral emotion, shaping an evening of fluid, curious and frenzied dance. Joined by San Diego choreographer, Sadie Weinberg, with vibrant and rebellious dancers, Cari Bellinghausen, Eric Geiger, Rebecca Gilbert, Kelly Kemp, Claudia Hubiak, Greg Lane, Erin Okayama, Valerie Scott, Sarah Sandoval, and Vanessa Tipon, Smith and Ceres direct a voyage of sensual entwinement as they navigate the queer experience in a community seeking alignment.

Contact: brittany brown ceres: danceceres@hotmail.com

in/divisible is supported in part by the Zellerbach Family Foundation, the Stanford Dance Division and an artist residency at CounterPULSE.

Vera Wilde at Shotgun

2008-10-27T14:25:00.001-07:00

it was a real honor to work with the cast and crew of Vera Wilde! Congraultions to you all for such a great run during such a bizarre financial and political time. BRAVO!

Check out these reviews!

Robert Hurwitt, San Francisco Chronicle : "An enticing little musical...the story is engaging, as is the acting in the captivating stagings of Maya Gurantz."

Pat Craig, Contra Costa Times : "the stylish production directed by Maya Gurantz refuses to flag its energy for even a moment....a dazzling fresh 'musical vaudeville,' a theatrical molotov cocktail, a joyous theatrical celebration"

Ken Bullock, Berkeley Daily Planet : "It's one of the most interesting, exciting shows ever on the Ashby Stage"

Chad Jones, S.F. Examiner : "intelligent, clever and bold with an appealing score and some standout songs."

Sam Hurwitt, East Bay Express : "We'll love these glorious rebels for what they were only until we've chewed them up and spit them out"

Emma Krasov, Art & Entertain Me : "A small, yet amazingly multitalented cast braves the complexities of the material with ardor."

the ups and downs

2008-09-24T10:34:00.000-07:00

dance ceres is on a little break right now, why? there are a few rare situations floating over dance ceres at the moment. The week of westwave, one dancer's best friend, a 33yr old dog walker, died of a heart attack after collapsing in the park. It was a devistating week, obviously. Another dancer has been struggling through a horrible divorce and two dancers went back to school... Feeling deeply overworked and breaking down, we decived it is best to shed a few projects in the interim. Rehearsing without these guys would be like removing colors from a painting... I would be going against everything my company works for to force creativity.

It is the mission of dance ceres is to realize subtlety through action, individuality through community, immediacy through timelessness, and equality through art.

on dance - excepts from a grant i didn't get to submit...

2008-09-19T11:47:00.000-07:00

ON DANCE: I am drawn to work that distills a global idea into a classical and poignant phase of abstract movement. I work from a place of reverence to the classical lines of our modern dance pioneers and forerunners, yet am charged by the way the physical twists of my own body alter those lines into distinctly human form. I attract passionate, precise and sometimes unconventional dancers who grab my attention with their inherent understanding of my need for specificity in shape and time. Our individual variances and sensitivities manifest in our physiology – these eccentricities fascinate me and I structure work to dig into the biology of each dancer.

My working style in general focuses on gut response to both trauma and celebration and the shaping of that response into action. Who are you and what is your gut telling you about yourself, about your artistry, about the world? Are you willing to make big changes? Are you willing to ask others to change? As apathy grows over a decade of our political, financial and social frustration, how can we continue to stimulate dialogue and articulate ways for our populations to see fresh perspectives? Living in a climate full of “talk,” particularly in campaign year, can artists help push the “ideas for change” into change itself? Through each project, dance ceres seeks to be ambassadors to the process of change, understanding how to welcome change and how to bring it safely, securely and succinctly into people’s lives via art. These renderings help me maintain a personal conviction and passionate belief that art builds unification by abstracting meaning through personal felt responses.

I invest in a community spirit that is rooted in the excellence of the form. My involvement in the community as a teacher fuels my commitment in supporting generations of articulate dancers and witnesses. I value highly educated and articulate choices and seek to direct from an intelligent and expressive space that assists my dancers in seeping up my physical intentions. Detail and clarity enable me to make movement that pushes an idea forward without reverting to cliché or current fads. By deciphering inner intension though choreographic technique, evocative and physically unique movement pulls intensity from my dancers to turn movement into either environment or action.

Dance ceres has undergone considerable growth in the two years. We toured three times to Southern California; completed two creative residencies and received great reviews from our 2007 home season. After five years of steady work, we are deepening as a committed company, building on the kind of instinctual knowledge and deeply felt ensemble that can only come from time together accomplishing a shared goal. My dancers have shown me the dedication that it takes to make something good into something spectacular. Our work has been revered by Allan Ulrich as “swift and irresistible.” He continued, “her Simultaneous Solos, earned its place through talent alone. Vibrating wrists seemed to unleash a contrapuntal exercise constructed with almost lapidary precision.” – VOD 7/06.

Over the past ten years, I have been making dances independently on both coasts. San Francisco has distinguished itself to be a highly charged and inspirational environment for my choreographic process, as I am challenged by Bay Area artists and audiences in a way that pushes me to take bold rsks. I am deeply committed to this community and am passionate about contributing in a deeply authentic voice.

align

2008-09-12T16:35:00.000-07:00

I find each year rich with astonishingly profound change! – a great source of inspiration to my work. I find this year’s theme to be ‘alignment.’ Be it a stronger commitment to communication with my students, landscaping my new yard by rescuing plants off of craigslist, focusing with the leadership team at work, or my continual struggle to grow in a physical art with regularly debilitating scoliosis, my recent study revolves around how we continually collect things into our sightlines/energetic pathways and organize/arrange/file/balance/align these elements and individuals in order to uniquely understand our individual journeys.