I am a Director, Writer and Performer who is interested in creating socially engaged art. In thinking about my work, I can say that it transforms the presupposed dogma about women, family and self-trauma and reevaluates the established paradigms of these defined issues. My work exists as a tool to make sense of the world I experience and reflect the little absurdities of life.

The work I direct deals with issues of power and male female relationships and how dogma has dictated these relationships. I play with triangular blocking and unique level dynamics in order to create these striking contrasts. I direct plays that have characters dealing with totalitarian leader abusing power.  I work in the genres of absurdism and realism alike. I enjoy finding ways in which the absurd feels real and the real feels absurd. I direct because I see it not a method of power,  but rather a widely collaborative art. It is about enabling my actors to make strong and clear choices, building relationships on and off stage, and empowering other artists to create something extraordinary. But most importantly, it's an exercise in listening to the needs of others; whether it's listening to actors and designers, or being in tune with the needs of an audience and community, in essence it is a communal practice.

As a playwright I use traditional storytelling tropes to reveal the absurdity of life, or as tools to be transformed into modern situations.  I explore deeper into the female perspective and how certain traditions have portrayed tropes of female characters. I work to take these tropes and transform them into more fleshed out, relatable characters that people can identify with and see in their own world. I write female characters that commit fraud in princess gowns and get arrested. I write about young adults on Tinder dates arguing over cats and dogs. The women I write are combative, argumentative, and assertive of their own voice. They are afraid for their futures, they experience loneliness, and struggle to get through their lives. I write characters that are flawed, that are young and do not have their lives together. I use absurdism and comedy to comment on the stereotypes placed upon females characters in theatrical settings. I write these kinds of female characters because I found a need for strong female characters to explore as an actor and performer.

My performance art deals with the self, and how my body navigates the issues of female and male, power, tradition, and family conventions. I experiment with the voice and its disembodiment from the self. I do performances based on my own trauma. I address my own issues of Body Dysmorpha with performative recreations of my rituals in front of the mirror. I address my issues of a transitive childhood by addressing suitcases and culture. I am not a mere spectator or reporter of the experiences of other, rather I use my work to understand the world from my perspective and make sense of it.

Up and Coming!