Detroit, MI presented September 26th, 2026
Performance Installation
MASTICA (to chew) intertwines sculpture, audience participation, sound, and movement into a performance system centered on consumption, the senses, and intimacy. The performance begins with the primitive act of eating: tamales are distributed to selected audience members with clear instructions for participation, establishing consumption as a physical collective gesture.
The performance centers a sculpture constructed from old tires, synthetic braids, and soil. Tires hold significance to Detroit’s industrial history while connecting the work to anti-colonial movements across continents. MASTICA sits with consumption as an intimate, excessive, and transformative act, using context and intimacy to overwhelm the senses and seep into the space.
PRESERVATION
Brooklyn,NY presented April 18th, 2026
Performance Installation
- PRESERVATION is a performance-installation built around a system where bodies, a stainless steel
pole, and synthetic hair act as interdependent sculptural elements. The work merges pole-based
movement with six-foot braided hair extensions (attached to the scalp), braided footwear, nylon,
cheesecloth, and vegetable glycerin. These materials form a movement language that shapes the
system’s behavior.
Each performer enters with six-foot braids extending past the body. The hair functions as an adornment and structure, holding limbs in place and allowing for tension and release. Identical braids create continuity among performers, dissolving individual boundaries as they merge into a sculptural organism. Nylon compresses and redirects movement, while glycerin dripping alters friction and accumulates. The body functions as infrastructure and interface, absorbing pressure and enabling circulation between performers. Material moves across bodies, making preservation an active process of maintenance and adaptation.
Acts of holding, carrying, and sustaining become central as preservation becomes care and strain. Care is expressed through sustained physical labor: grip, counterbalance, and endurance under shifting material conditions. All material elements are developed collaboratively through the artists’ fabrication and performance process.
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WOVEN is a multidisciplinary performance installation that centers the body, and how it listens, adapts,
surrenders, and recalibrates within systems it did not design. Performed on a mound of soil, a graffiti-ed
bathtub and water, six-foot long braids extended from my scalp were handed to random audience
members. They were instructed to direct movement as they desired, whether it was against me or in
collaboration. WOVEN expands from the individual to a collective, multi-sensory system, where the body
learns to move through external pressure.
WOVEN began as a performance system and continues as a living system that weaves together art making, resource sharing, and collective presence.The project functions as a community gathering in mutual aid and accessibility. A recent iteration raised over $4,000, distributed to mutual aid groups supporting communities in Congo, Sudan, and Haiti, as well as local efforts toward decriminalization in New York. Sliding scale entry and donation-based models support inclusion and shared responsibility.
Young Boy Dancing Group
New York City presented on June 8th - July 6th. 2025Collaborative Performance Installation
I performed as part of Young Boy Dancing Group in New York City, working within an improvisational system that treats bodies and objects as interdependent sculptural elements. The work was structured through live negotiation, where movement vocabularies emerged in real time through contact, weight exchange, and spatial constraint. My role focused on navigating instability within these systems, using strain, suspension, and near-collapse as compositional tools. I worked closely with material elements and other performers to build and disrupt physical structures, allowing gestures to oscillate between support and failure. This experience deepened my interest in performance as a material system shaped through duration, tension, and collective negotiation. It continues to inform how I construct environments where bodies are both held and tested by the conditions they inhabit.
Young Boy Dancing Group (YBDG) is an experimental performance collective initiated in 2014 and known for intense, improvisational live works that blur dance, sculpture, movement, and material presence. Their work captures precarious bodies mid‐movement, highlighting both instability and intimacy in embodied performance. Their projects have been presented site‐specifically in wide- ranging international contexts, embracing varied local performers and spatial conditions
Young Boy Dancing Group x Sánchez-Kane at Dover Street Market Paris
Paris, France presented on October 16 and 17th 2024 Collaborative Performance Installation
- I performed as part of Young Boy Dancing Group in a site-specific collaboration with Bárbara Sánchez-Kane and Darío afb at Dover Street Market Paris. The performance unfolded within a sculptural environment that functioned simultaneously as costume, architecture, and constraint an unstable, three-footed form bound by belts, folds, and absences. Entering this structure required navigating fragmentation, tension, and excess, where the body was never whole and movement was shaped by resistance.
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As performers, we connected ourselves to the sculpture and to one another using retractable belts, objects borrowed from systems of control such as airports and banks, econfigured into tools for attachment, delay, and desire. Movement emerged through rupture rather than flow: convulsive, disobedient, and continuously mutating. The choreography rejected fixed silhouettes and binaries, instead forming temporary constellations: statues, pyramids, collisions, before dissolving again.
Catch_Release
Boston, Massachusetts presented on February 13th and 14th 2026
Boston, Massachusetts presented on February 13th and 14th 2026
Collaborative Performance Installation
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catch_release is a 60-minute durational pole-based performance-installation that brings together
collaborators across movement, set, and sound to construct an intimate environment. The work
operates through a continuous cycle of tension and release, where the body remains in sustained
negotiation with the pole, gravity, and fatigue. I use repetition, grip, and controlled descent to build a
shifting physical state that moves between stability and dissolution. The performance unfolds as an
accumulation of micro-adjustments, where transitions, slips, and recoveries become the primary
material.
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- Set design and sound function as active components within the system, shaping pace, attention, and sensory orientation. These elements extend the work beyond the body, creating a space where perception drifts between grounded presence and a more fluid, dreamlike register. Drawing from Andrew Wyeth’s painting, Pentecost, the piece engages shapeshifting as both a physical condition and a way of understanding lived experience. The body does not arrive at a fixed form but remains in continuous transformation, held within the tension of the in-between.
SUSPENDED TERRITORIALITY
Berlin, Germany presented on November 21st 2025
Collaborative Performance Installation
Suspended Territoriality is a performance and editorial directed by Hugh Gleeson situated within the historic Meistersaal in West Berlin. A ‘space in suspension’ is marked within this neoclassical interior through a temporary installation that reflects political conditions in which bodies are immobilised, rendered vulnerable and subjugated through spatial constraint. Within such conditions, resistance emerges as a necessity against the suspension of personal rights and bodily autonomy. The work is dedicated to the oppressed peoples of Palestine and is informed by the struggles encountered by those who protest their cause in Germany and elsewhere.
During the performance, a central body undergoes an initial process of subjugation enacted by two authoritarian bodies. The body is gradually suspended within the structure along with its identity and agency. Subjected to further acts of violence and distortion, the suspended body reaches a point of determined resistance. In turn, it begins to assert control over the previously authoritarian bodies, appropriating the structure once used to oppress and transforming it into a site of emancipation.