About

I’m a Stuttgart-based performance artist, researcher, musician, and writer. In 2023, I completed a Fulbright Research Grant to Germany in Performance Art, during which I completed an MA in Experimental Performance and Theory at Hochschule für Musik und Darstellende Kunst Stuttgart. Generally, I’m interested in ghosts and the interstices between artifact and artifice, particularly ones that might re-figure the archival gaps, displacements, and speculations that litter historical narrative.

I’m the co-founder of the PROMPTUS Collective, a NYC-based performance collective that focuses on researching and cultivating a trans-disciplinary practice, and Nothing Else Left to Read (NEL2R), a Toronto-based collective that focuses on devising durational, improvised work. I am also a performance and installation artist, and I’ve shown work at Theater Rampe (Stuttgart), Fluxus Fest (NYC), LOD muziektheater (Ghent), ArraySpace (Toronto), Cultivate Festival (Port Hope, ON), Arts on Site (NYC), the Music Gallery (Toronto), Critical Mass Contemporary Art (Port Hope, ON), 7MPR Themed Dance Theatre (NYC), MISE-EN PLACE’s Open Bushwick Studios (NYC), and Ensemble Studio Theatre (NYC). I was an artist-in-residence in 10 TAGE FREISCHWIMMEN 2024, and I was a 2023 International Forum fellow for the Berliner Festspiele’s Theatertreffen. Most recently, I am a recipient of an Individual Mobility Grant from EU-Funded Culture Moves Europe, which will support an apprenticeship for a production between LOD muziektheater and Antwerpen Toneelhuis in 2025.

As a researcher and writer, I have presented at the French Association for American Studies, the 12th Annual Society for Artistic Research Conference, the Centro Studi Opera Omnia Luigi Boccherini, the 2021 New Interfaces for Musical Expression Conference (NIME), 2022 Transplanted Roots Percussion Research Symposium, and the 6th International Conference on Technologies for Music Notation and Representation (TENOR). I have previously co-published a paper in the 2021 NIME proceedings on the parallels between learning Digital Musical Instruments (DMIs) and percussion pedagagy, and I also write essays and reviews of performance, theatre, and music which can be found in Refuze Review, Peripheral Review, and CultureBot. I currently serve as a member on the Percussive Arts Society’s Scholarly Research Committee.

As a musician, I’ve performed across the US and abroad in Europe and Asia premiering over fifty solo and chamber works, and I’ve performed at the Lucerne Festival (Lucerne, Switzerland), Musikfest Berlin (Berlin, Germany), the Composer’s Conference (Wellesley, MA), Atlantic Music Festival (Waterville, ME), the Fluxus Fest (NYC), Continuum’s HATCH (Toronto, ON), the Banff Centre for Arts and Creativity (Banff, AB). I’ve also performed with the International Contemporary Ensemble (NYC), Contemporaneous (NYC), OS Ensemble (NYC), SPECTRA Ensemble (Ghent), AXIOM (NYC), Distinguished Concerts International (NYC), the Tilikum Trio (Toronto, ON), Soundstreams (Toronto, ON), PROMPTUS (NYC), and NEL2R (Toronto, ON). 

As an administrator, I have worked with the International Contemporary Ensemble as a Production Intern, with the Carnegie Hall’s Weill Music Institute in the Learning and Engagement Programs Department, as a Programming Research Facilitator with the Near North Mobile Media Lab (North Bay, ON), and as an Assistant Stage Manager at Lincoln Center’s Mostly Mozart Festival. I was a member of the 2017-2018 Student Advisory Council of Lincoln Center, where I won the annual curation pitch and curated a show with Tarek Yamani at Lincoln Center’s David Rubenstein Auditorium.

I received my Bachelor of Music at the Juilliard School, receiving the John Erskine Prize in Scholastic and Artistic Achievement, and my Master of Music from the University of Toronto.

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Most recently, I am busy with the development of HANDS-UP, a performance co-directed and co-performed with Emilia Dorr to premiere at Theater Rampe in December 2024 with generous support from the City of Stuttgart and the Ritter Sport Künstförderung. The performance is based off of my Master’s Thesis that thinks through missing archives, everyday gesture, and ghosts.