For me movement connects the innermost sentiments to the physical body. This dramatic expression is visceral, forcing emotions to flood the mind and intoxicate the entirety of the being. Music verbalizes feelings – of yearning, nostalgia, fury – and its melody inspires movement. My movement fuses classical ballet technique with an instinctive physicality. Deeply personal sensations are private as well as universal, and exploring the individuality and unity of them is an aspiration of mine. In performance the difficulty becomes the ability as a performer to not only embody the proper emotions, but also to convey them to a viewer who can then recognize and sense them. The image of an internal struggle reveals a sense of pain and anguish – everyone has experienced suffering, albeit in dissimilar ways. My movement strives to compel dancers and viewers to acknowledge these feelings and confront memories, separately and collectively. A question I constantly grapple with is how can a dancer express internal sentiments on a stage in order for an audience to feel? Aside from a specific movement quality, individuality and commonality can be depicted through solo or group movements, as well as spatial positions and lighting variations that illustrate these themes. My movement indicates a constant play with these elements. I find myself fascinated by how studio artist Kiki Smith approaches the concepts of death, morbidity, and resurrection with an ease that forces the viewer to confront their own discomforts. Moreover, renowned contemporary dance choreographer Pina Bausch also inspires me to explore movement that invigorates diverse and intense expressions of humanness.