I am an engineer with a poet’s heart.

The technical system is only part of the story. Engineering is a human enterprise. This is why I maintain a creative studio practice. If we care about finding engineering solutions, we must care deeply about the human cultures that foster their emergence. For me, this is rooted both in nurturing communities of practice as well as supporting the professional development goals of the researchers and engineers on my teams. When I work with organizations I track the shape of our collective imagination over time, and run experiments to either optimize our existing solution-finding practices or expand the surface area of the possible.

I am motivated by how we gather and store high-quality, relevant data in performant, scalable infrastructure, and empower diverse, creative engineering cultures to build systems of deriving insights from data to solve problems that matter. I use the UN’s sustainability goals, the work of the Center for Humane Technology, the Artemis Accords, and the guidance of my mentors to tune my compass.

One research target I use to organize my thinking is the construction of cultural practices, including movement forms and drawings, to distill and transmit knowledge. I believe the proliferation of LLMs in our everyday work and play will begin to liberate our hands and eyes from traditional interfaces, and we will see a resurgence in curiosity about dance, art making, song, cooking, gardening and stewardship of sacred sites. These are frontiers of the truly human we will have not only time but species charter to prioritize.

I began making movement and visual art in earnest around the time I trained with Deborah Hay. I performed her solo The Runner (2005) in state parks across the United States and planted seeds of what would later become the Somatic Natural History Archive. My commitment to learning in situ with different systems was further developed through residencies at Movement Research (NYC) and the Interdisciplinary Laboratory of Art, Nature and Dance (NYC) under the mentorship of Jennifer Monson and continued with my experiential geography work with Deborah Black and Bryan Campbell in partnership with the NYC Partnerships for Parks program. Starting in 2008 I began to document my research in drawings and music compositions, including my work Ryujin which I premiered at the San Francisco Women’s Building with the Friction Quartet.

I am currently working on a series of performance offerings and paintings titled Tutaj, which will crest and rise over the next few years as I prime my studio to integrate new data from the largest body of water in our solar system, the ocean moon of Ganymede. Aspects of my work will encode scientific data as heritage objects (paintings, movement forms, weavings), and in this I situate my studio as fodder for future generations living deeply into a planetary ethic situated within a more fully known solar system context.