Born of settler parents of Greek, Irish, Scottish and Acadian genealogy, I grew up in racially diverse and economically oppressed suburban and rural communities on Mi’kmaq ancestral territory in Nova Scotia, Canada. I have carried the deep bond to that land and waters I felt strongly in my childhood into my adulthood. It is a connection I continue to feel.

Since childhood, I have lived in the urban centers of Halifax, Toronto, London, Amsterdam, New York, and Montréal. I have developed relationships with those lands and people I have met on them.

I would like to acknowledge here that my home and workspace in Montreal for the past 25 years is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which I work and live today in Tiohtià:ke/Montréal.

 

Tiohtià:ke/Montréal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. I respect the continued connections with the past, present and future in my ongoing relationships with Indigenous and other peoples within the Montreal community.

I also acknowledge and support the existence of feminist, LGB2TQ, BIPOC and neurodiversity spaces in the arts sector and society.

 

I have focused on the resilience and representation of queer peoples in ways that travel across the disciplines of movement, performance art, theatre, music and digital art. In my practice as a filmmaker, I often use the medium as a way to represent lived experiences in surrealistic ways with humour, text and movement.

My work is greatly informed by my studies of Central African dance techniques at Nyata Nyata school of dance (2011-2019), and my research associated with communication studies, gender and sexuality.

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