background/approach

My exposure to facilitation, care work, and attention/somatic practice began when I was very young. Many of my family members are practitioners of one sort or another — therapists, psychics, social workers, guardians — and my inquiry into their work has been a consistent force throughout my life. This early fascination and support led to my own lived engagement with a range of contemplative practices, somatic and healing modalities, and mental health approaches, which I met with curiosity and a desire to learn.

Throughout late childhood, adolescence, and into my early 20s, I was also spending a great deal of time absorbed in ballet and contemporary dance training, as well as rigorous instruction in Pilates and yoga, with focus on Iyengar and Ashtanga approaches. Later on, I encountered Gaga, Alexander Technique, Klein Technique, and Feldenkrais, and felt deep recognition in and resonance with their subtlety, integration, and self-study. My focus shifted to writing in my mid-20s, and from 2013 to 2021, I facilitated numerous workshops geared towards dancers and writers that combined movement, writing, and contemplation practices.

In 2021, a more specific practice rooted in this array of somatic, creative, intuitive, and therapeutic modalities began to emerge for me. Named in gratitude to Pauline Oliveros’ “Tuning Meditation,” TUNING is an ever-evolving approach centered around gentle physical work, structured breathing, and internal visualization. Though it encompasses a range of forms and processes, including group work and intuitive facilitation with individuals, animals, & spaces, as well as my own creative and wellbeing practices, its principal focus is to support embodied experience through listening and attending with and beyond the present body.

Alongside my own experiential study, I have undergone academic work in philosophy and poetry, training in death work, and intensive one-on-one intuitive mentorship, and I have been fortunate to receive wisdom from the communities I have encountered, particularly those orbiting performance & poetry. For me, the processes of making and of personal evolution have been most effective and meaningful when all these many influences are merged — the body, experiment, procedure, ritual, collaboration, chance, attention, presence, and intuition are essential to my way of working — and I believe in their combined power to draw forward what is most urgent, necessary, and supportive.