When developing this work I collect information in the forms of songs, poems, writings, photos, films, color palettes, seasonal detritus, locations and forms of a landscape. I place/position them in notebooks with tape and glue. I sit with this research, practicing in the landscape to absorb, embody and edit, honing in on specific movements, sounds and sights over a season.

I ask: what season effects the body in what ways? Winter produces a slower metabolic process in the body, an exploration of fallowness; the autumn is the time of great seeding and decay, and the body is preparing and dying simultaneously; in spring there is riotous growth under ground with roots spreading deep and wide and in this month the body is restless and full of potential energy; in the summer everything is alive and in bloom and the body is full and energetic. The choice of the season that starts the project will effect the resulting physical attributes the body will take on. In the studio and /or outdoors I use movement exercises that evoke the elements of that season to stimulate the body to move with these embedded and researched ideas. I learn the meaning of this research through my practice of embodied exercises. Some are already inside of me, whether they are being directly focused on or not; and I have altered something by focusing attention on this growing knowledge; I have become more embodied, I am in relationship to the landscape I am working in; I have been attuned to this place and temporality. I have located this knowledge/memory to an engram inside of my body/mind.

The work explores aspects of embodied knowing and learning, but also draws from a particular set of research questions about our relationship with landscape, attempting to understand and interpret them through a knowledge medium – the body – that creates a different set of insights on human-non/human interaction.