When Anne Bogart and, then, Theodora Skipitares invited me to collaborate at the University of Iowa, I experienced theatre’s social-political power. Both artists encouraged me to channel my rage at Queer-phobia into performance, spiced with a touch of camp.
My first job in NYC was as a pre-school teacher. We taught learning through experimenting. Want to make pancakes? Imagine a recipe. I create to discover. (Photography was a happy accident.)
At that time, I was a club-kid, a Jackie 60 performance artist, every night was a Matthew Barney film, and transgender actor Kate Bornstein was in my play. Kate told me about being a “Gender Outlaw” and that empowerment to invent perception.
From New York, performance artist Paulo Henrique invited me to Portugal. Influenced by Pina Bausch, Jérôme Bel, and Paulo’s love of gadgets, we mixed dance, technology, and poetry into a journey. The stage frames our body language reacting to our societies.
Recently in Slumming It, I combine my historical play about Queer brothels with a modern Queer cabaret. It was a theatrical happening that bridged LGBTQIA++ past with its current evolution.
My theatre is a gathering to dance around the fire. It is a theatrical laboratory where epiphanies happen.