THE NASH CONSPIRACY honors the integral validity of the voices inside our heads. Inspired by the psychological break of mathematical genius John F. Nash Jr., our chief operation, as a collective, is to break artistic codes and formulate new methods of physical expression.

My work seeks to disrupt the audience’s perception, offering surreal perspectives that are grounded in discomfort, suspense, risk, uncertainty, and fear. I aim to bridge the gap between Self and Other, by bringing internal narratives to the foreground of our shared experiences. My work functions as a metaphor; individual dancers represent fleeting, conflict-driven thought patterns within the psyche as opposed to separate characters. It is as if the audience is viewing the mind itself, which provides them with the opportunity to reflect on shadow aspects of themselves, and to examine apparent commonalities with others through the lens of movement. This introspective take-away is intended to be relevant for dancers and non-dancers alike.

I am currently exploring the intersection of physical theater and non-linear narrative, and how an altered perception of time creates an active landscape for both performers and viewers. To quote director Christopher Nolan: “You don’t want to understand the entire story from the beginning. Otherwise there’s nothing to unfold.” My choreography is inspired by Nolan’s work with non-linear narrative (“Inception,” “The Prestige,” “Memento”), which oscillates between alternate realities and pocket dimensions. Images appear and reappear, angles of perception become distorted, and the logic of action folds or repeats, complicating the audience’s ability to form a complete judgment. This approach also reflects how the human mind recalls events, often in a fragmented and non-sequential way. Further, non-linear sequences allow us to deliberately withhold information or mislead the audience, creating suspense. The audience gets information before the other characters, causing them to piece together the story like a puzzle. By forcing the audience into a detective role, they become complicit in the events unfolding. This structural choice also mirrors the fractured perception and compromised rationality of the performers. 

Improvisation is an instinct-driven practice that is central to my creative process. In the studio, I utilize improvisation in tandem with film, text, and photography to explore unexpected rhythms and timing. These methods help me create material that tricks the audience’s eye, blurring the line between real and imaginary, while creating suspense for performers and viewers. While certain moments might be more theatrical and subtle, I value a more visceral, expansive, and full-bodied approach, with intricate partnering, phrase work, and gestures that align with the narrative of the piece.