My artistic practice centers on participatory performance works, including one-to-one encounters, theatre-making, and site-responsive actions that invite socially intimate forms of collaboration. I am interested in how a narrative is voiced and circulated across cultural and linguistic boundaries, and in what becomes possible when listening is treated as a shared practice rather than a given. Translation is the conceptual and aesthetic core of the work, not only between languages but across experiences, mediums, and sensations. In my performances,  I use translation as an active artistic method that can expose what is excluded from public speech and open new ways of sensing what connects us without collapsing difference.

I work through voice, choreography, and performative writing, often in collaboration with participants whose lived experience becomes part of the work’s structure. Using movement scores, vocal experimentation, and adaptive scripts, I compose encounters where meaning is generated collaboratively through listening, response, and relational presence. The work is for audiences and participants with varied relationships to contemporary art, and it is designed to be accessible across languages and contexts, inviting people to co-produce the encounter in ways that feel both precise and open. Documentation is integral: performances generate material forms such as textiles, photographs, video, and soundscapes that hold traces of the encounter and allow the work to travel, reappear, and be re-entered across galleries, museums, and public sites.

Over time, I have become increasingly focused on voice as a site of both inheritance and unlearning. My voice carries traces of every place I have lived and worked: institutional registers, accents and slang, and the forms of credibility demanded by certain settings, alongside the pressure to sound emotionally contained, credible, or authoritative. Rather than performing polished registers, I am developing a practice that makes room for a fuller emotional range, including tones and textures that are often disciplined out of public speech and everyday conversation. My current work, including Sounding Justice and the developing project frame Antigone in the Stone: A Living Voice Under Sentence, explores voicing as a form of sensory connection rather than only narration, and asks what changes when sound is placed in relation to site, ecological beings, and conditions of inhabitation. Working across English, Farsi, Korean, Italian, and Dutch, I translate not only meaning but tone, rhythm, and resonance through the body. Through soundscapes that treat translation as a material practice, I invite audiences to feel what words carry and to enter forms of listening that move beyond the conventions of theatre, conference, or concert.