Ultimately, my research was curiosity driven, which kept me active even in low periods.

I’m hungry for knowledge…Knowledge, knowledge and I loved it.

I feel myself still like a student learning many things doing films.

I’m in a transition, Hans. I am painting, and I am painting over and then painting, and then painting over, and destroying, and painting, and destroying, and painting over. I am just trying to find the next thing, and the only way I think I can find it is to keep doing things and learning from it.

My dance heroes include Kitty Lunn, one of my first teachers, Marc Brew, current Artistic Director of AXIS Dance Company, Judy Smith founding member and Artistic Director Emerita of AXIS, and Jawole Willa Jo Zollar the founder of Urban Bush Women. They are all innovators and activists in their own way.

I do not consider Kinetic Light’s work radical. It is not radical to imagine a disabled audience as primary and to make the work accessible to that audience. It is not radical to situate a work within disability history, culture, and traditions. Non-disabled artists do that all the time.

I have reached the point in my career where I can choose my collaborators and the artists I want to create with. My Kinetic Light partners, Laurel Lawson and Michael Maag, are my dream collaborators, and Kinetic Light is the place, time, and people with whom I am making some of the most creative and meaningful work of my life.

I understand my definition does not meet most people’s definition of disability.

When stuck, go to someone else’s show—in a different discipline

What I think you’re asking is, “Does it change the movements on stage if you have people come and watch it?” I would say, yes it can, but not always. Not every comment will lead me to go back to the stage and change something… but it can. Often you don’t know how stuff is landing, so it can be helpful to get a viewer’s perspective. Since I’m in the piece, I’ll never be able to see what it looks like from the outside.