In my work, there is no divide between performance and sculpture. I have been told my pieces are best witnessed in a gallery so that one can walk around and change one’s proximity to them. I often think of movement in terms of materiality, and choreography in terms of sculpture—the individuals I work with act as multiples, scaffolding, conglomerations. In NYC, I performed with Leimay, a dance company highly influenced by Butoh practice. I am fascinated by Butoh's ability to transform bodies into material. The movement is not generated by the muscular prowess of the performer, but is generated by layers of language and imagery that exist within the internal landscape of the performer. The performer’s physical limitations and kinesthetic logic shift; and it often appears as if a third party is directing their movements. The body influenced by this mentality is the substance with which I build moving three-dimensional sculptures.