about bio | artist statement | resume in pdf format: performance, teaching, administrative view As * an artist * a citizen * a human * my goals are similar. I intend to communicate the way I see the world: with compassion, critique, humor, and depth; through a kaleidoscope lens-a visceral, visual landscape. That is: our world is not simple, so why view it as anything less than beautiful, horrific, irrational, whole, misguided, miraculous, magnificent-complex? the work My movement theater work addresses contemporary socio-political realities / specifically regarding human advances (technology, scientific discovery, evolution) and digressions (war, violence, loss of humanity). It seeks into the incredible wealth of knowledge, beauty and grace that humans possess, as well as the chaos and destruction we cause ourselves. The work contextualizes our lives within altered time frames, often taking place in a sci-fi/ futuristic, or magical/other-worldly place, we project into * past / future *, in order to take reprieve from everyday reality. Placing the work in another time, by creating a surreal quality in the performance space-works to draw the audience out of her/his normal relationship with time and space. inspiration We, humans-the silly and tragic predicaments we get ourselves into / the incredible knowledge and innovative spirit/gifts we possess. I find us charming and revolting. The work-attempts to view our dichotomies with respect for all the * truths * and perspectives of any situation. concept The work usually originates conceptually and thematically: From Flight W-2: Emergency Exodus (1999/ 2000), a dance-theater installation, integrating a fictive narrative (the audience is taken on a flight to the tropical paradise of 'Esperpento'), with real time news and political reality (the In-Flight News broadcast relays video/documentation of the dot com boom in the San Francisco/ Bay Area). In a wacky, and humorous, yet sobering and ironic theatrical event, the piece takes the passengers into a blur of speedy consumer culture, on the way to escape (into someone else's culture/reality). Micro/Macro= airplane/ consumer culture. The piece took place in a large warehouse space, which was completely transformed into the airport, waiting area, and airplane cabin. to Sally: M.I.A. (current work-in-progress, 2006-present), a movement theater investigation into post-human existence, exploring human-techno interaction, through vocal & sonic landscapes, text and movement worlds, and the phenomenon of time travel: Sally has given up her human existence to become an Automate. Now she floats back and forth between the memories of her childhood, adult life and automate existence. Variations of this work have been seen, in a studio space, a visual art gallery, and several black box theaters. source/structure Though beginning with concept and theme, the work is largely created from the body: movement, vocal, text and character work-are all sourced and created from physical work and investigations, both solo and ensemble. Accessing visceral response-the power of emotionally driven movement, we choreograph, discover character, create story, interactions, worlds-write from the body. The work may be linear or non-linear in its structure, depending on what the piece calls for. environment Housing the entire experience in a visually captivating / viscerally resonating environment (set / costume/ sound / lights) design-is a crucial component of creating the performance world(s): for the performers living reality on stage, as well as, the audience's immediate experience. The environment is meant to transport us into another world immediately. The work is typically created with these elements of design as part of the evolution. process These performance pieces are created in collaboration with a team of artists. It is the richness of collaboration with other critical minds, compassionate hearts, creative bodies and embodied imaginations-that moves these concepts into vital and innovative performance work. © Krista DeNio