HERE, (spring 2014)

an exploration of the phrase "forgive and forget" expands into a deeper look at the different facets of bitterness and healing. Unable to keep the tight hold of reactions to past hurt, different pieces of one's consciousness fracture and dissipate, only to be reassembled when one pursues forgiveness. Premiered at NECTAR: a dance concert benefiting Santa Barbara Street Medicine in March 2014.


WAGES (summer 2015)

This piece plays at the moral hinterland of the concept of sin, likened to the way that an infection interacts with the human body. Exploring the innate reaction that the immune system will fight, similar to the questioning of morals when presented with an unclear or questionable situation, and the symptoms that incur when a person has succumbed to the illness. Premiered in fall 2015 at DUMBO Dance Festival in New York with a full-evening length California premiere at the prestigious Marjorie Luke Theater in Santa Barbara, California in June 2015.


FLESH & BLOOD (spring 2016)

an exploration of the spiritual and emotional development of our own human-ness called: “flesh & blood“. How do our individual paths diverge through our experiences and affect our journey as a collective people? How exactly do we experience the society around us as we develop? What frees us and gives us hope? What breaks us and hardens our hearts? What must we do to keep our compassion? Full-evening length work premiered in Santa Barbara in February 2016, shortly followed by performances at St. Mark’s Church in Brooklyn, New York in March 2016.



our first collaborative work premiered at Triskelion Arts Collaborative Dance Festival in Brooklyn, New York in November 2016. The work, inspired by the letter written by the Stanford rape victim to her attacker, focuses on the process of healing after sexual assault. Lauren Emerson and Ian Charbonnet collaborated with our Artistic Director, Meredith Cabaniss, on creating the score for the piece while the dancers - Bianca Salazar, Jeff Schultz, and Colin Sneddon, collaborated on creating the movement.

Endgame 4.png


an evening-length work that explores the fluid balance of reality and illusion as expressed by the continual reconciliation of what we wish and what we know. Inspired by Samuel Beckett’s play of the same name as well as the work of Marcel Duchamp and other artists of the 1913 Armory Show, this piece creates a world where the usable becomes unusable, the obvious is suspicious, and reality is questioned. An ambitious creative endeavor in the company’s third season, Endgame comes to life through emotional rawness, physical exertion, and fast-paced non-linear narrative.



an evening-length work centered around a journey into one's personal wilderness. Inspired in part by The Alchemist, a fable about following one's dreams, the work confronts a traditional notion of where strength lies: is it in the moments where one stands tall and confronts fear? Or does one find strength comes from a quieter place where your heart can speak? 


i was too young (WINTER 2019)

a short solo originally performed as part of Envision: Humanity at Center Stage Theater in Santa Barbara, California. In self-reflection, we begin to see the patterns and habits that we develop through circumstance and our relationship to the world around us. These patterns and habits are at once a part of us and apart from us. As we move forward, these pieces of our self-image fall away as circumstances and relationships begin, change, and end. In I was too young, these changes are represented by a kinesthetic force: audio, visual, and kinetic elements all working together to create a digital double that, through movement, evokes a sense of shedding skin and stepping into who we truly are.


pivot! (FALL 2019)

work in progress. and some questions.

Why is the history of art constituted by masterpieces? How is the quality of this work determined and by whom? Is the formula for value a combination of talent and learned skill? Who determines quality? By what measure is the value of one’s work determined?

How do we determine quality and value if not by the influences of our culture, trends, and a capitalist system? What is quality? The predominantly Western-white-WASP writing and determining of art and specifically dance has historically excluded women, people of color, and other marginalized groups while profiting off of their labor and creativity.

Above all, what is the art for?


humn methds (FALL 2019)

work in progress. and more questions.