In my work I strive to create a theater of the singing body through its most essential mechanics—the breath, contraction and expansion of the diaphragm, and the propulsion of sonic resonance.
I use these simple mechanics to power both movement and sound, causing a bodily phenomenon heard and felt. I place this corporeal investigation in direct and indirect conflict with narrative structures, language, costume and pageantry, inviting a clash between embodied and symbolic meanings.
The great-granddaughter of Eastern European Jewish immigrants, my relatives worked the garment and theater industries of New York City. I grew up regarding the tuneful stories of the Broadway theater as personal folklore.
As I work to make sense of the singing body now–at a time when the compounded violence of our American history demands a newly embodied narrative, I am more than ever drawn to the analog power of the voice as its own theater. I engage the voice as both artifact and artifice; as emotion; as means for dislocation and memory; as causality; as musical vehicle; as representational object of human-ness; as magical;as material; as seductive; as transportive; as consonant and dissonant; as real.