About

I’m a queer performance artist, director, musician, and writer. I’m interested in ghosts and things that are (almost) missing: the worn down ink of an immigration document, a forgotten purse in the bathroom stall, the scent of a long-lost family member’s perfume, etc.

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 and collaborated on work at Theater Rampe (Stuttgart), Fluxus Fest (NYC), LOD muziektheater (Ghent), ArraySpace (Toronto), Linden Museum (Stuttgart), 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 recipient of an Individual Mobility Grant from Culture Moves Europe for a Directing Apprenticeship at LOD muziektheater/Antwerpen Toneelhius for Görges Ocloo’s The Grief of Red Granny. I was selected as a 2023 International Forum fellow for the Berliner Festspiele’s Theatertreffen and for the 2024 &FRIENDS Cohort at the Rodeo Festival. Most recently, my work HANDS-UP, a collaboration between myself and performance artist Emilia Dorr, was selected for the 2026 edition of 6 TAGE FREI in Stuttgart.

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.

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; my Master of Music from the University of Toronto; and in 2023, I completed a Fulbright Research Grant to Germany in Performance Art, which funded my study at the MA in Experimental Performance and Theory at Hochschule für Musik und Darstellende Kunst Stuttgart.

In January 2026, I premiered my most recent work, HANGOVERS at Theater Rampe, a piece created in collaboration with my mother and my brother that was generously supported by the Landeshaupt Stuttgart Kulturamt, the LBBW Stiftung, FTTS Stuttgart, and the Atelierstipendium at Künstlerhaus Stuttgart. I am a Studio Grantee at Künstlerhaus Stuttgart since 2025, and I was most recently selected for the 2026 Emerging Creator’s Unit at Buddies in Bad Times Theater in Toronto, where I will premiere a new work in June 2026.