I support projects at various stages of development, including research, creation, premiere, touring, and beyond. Current and recent projects span experimental theatre, opera, dance, music/sound, and interdisciplinary performance that include new works for the stage by San Cha, Ahamefule J. Oluo, Holland Andrews, yuniya edi kwon, Joseph Keckler, and Lindy West.

Projects I produce have toured nationally and internationally, including to Transform Festival UK, Under the Radar Festival, Performance Space New York, Brooklyn Academy of Music, La MaMa ETC, ArtsEmerson, Williamstown Theatre Festival, REDCAT, On the Boards, PICA’s TBA Festival, Fusebox Festival, FringeArts, Stanford University’s Cantor Arts Center, among many others. They have been variously supported by grants, residencies, and fellowships from the Guggenheim Foundation, Creative Capital, Foundation for Contemporary Arts, MAP Fund, United States Artists, Music Theatre Now, Sweat Variant’s Artists Supporting Artists Program, The Watermill Center, Yaddo, MacDowell, Denniston Hill, and more.

I currently work independently. The services I provide are specific to an artist/project’s needs as well as my capacity.

These include:

• Creative, curatorial, and/or dramaturgical advising

• Big picture project/production management, planning, budgeting, scheduling

• Financial stewardship, fundraising grant writing, and donor cultivation

• Artistic team collaboration, coordination, and leadership

• Institutional relations, including pitching, contracting, negotiation, communications

• Marketing, promotion, and press strategy and coordination

• On-the-ground organization of residencies, premieres, and touring engagements

Independently, I co-organized with UK artist Phoebe Davies a convening for independent artists and arts workers on the political role of art institutions, hosted by Somerset House in London. In Seattle, I co-curated the 2023 OUT OF SIGHT visual art exhibition for Bumbershoot Festival and the 2025 Northwest New Works Festival at On the Boards. I have multiple curatorial writing and project proposals in process. 

From 2012-2024, I was a programs director, artistic director, and curator with Portland Institute for Contemporary Art (PICA) in Portland, Oregon, where I organized visual art exhibitions, contemporary dance, experimental theatre, film/video, music/sound, publications, public programs, residencies, community events, grant making initiatives, and the annual, international Time-Based Art Festival. Highlights include:

• From 2011-2023, co-curated PICA’s annual PICA’s Time-Based Art (TBA) Festival, including visual art, performance, public programs, and the design/launch of the TBA Guest Scholars & Writers initiative and the Field Guide to Dance program

• Multiple contemporary art and culture symposia, with themes such as Bodies, Identities, & Alternative Economies, How Do You Mean? Culture in Translation, and the historicization and politicization of HIV/AIDS featuring Sarah Schulman

• THROUGH AND THROUGH AND THROUGH solo exhibition by Gordon Hall with accompanying publication, OVER-BELIEFS: Gordon Hall Collected Writing, 2011-2018
  

• No Human Involved: The 5th Annual Sex Workers’ Art Show(2019) exhibition, symposium, and publication on contemporary art, activism and publishing in sex work, co-curated with STROLL PDX (Portland, OR), and featured in the anthology Curating as Feminist Organizing, Routledge, 2022.

• The premiere of Holcombe Waller’s LGBT Requiem Mass and second iteration, A Queer Divine Rite, for Yerba Buena Center for the Arts (San Francisco)

• We Got Each Other’s Backan exhibition and symposium byCarlos Motta with Heldáy de la Cruz, Julio Salgado, and Edna Vázquez

• Remembering to Remember: Experiments in Sound (2023), co-curated with Felisha Ledesma, with 15+ international, national, and local artists across exhibition, film/video, performance, workshops, and newly commissioned multichannel sound compositions

• Make Banana Cry, a queer, conceptual dance piece by Andrew Tay, Stephen Thompson, and an international ensemble that interrogates the West’s appropriation, consumption, and colonization of Asian culture through movement, music, fashion, and film

I have consulted with a number of national arts and cultural organizations, including the National Performance Network, International Presenting Commons, and A Black Art Ecology of Portland. My independent consulting has included comprehensive program evaluation; grant writing and funding strategy; and research initiatives, including design, data collection and analysis, public presentation, and internal/external reporting, primarily utilizing participatory research methods, including focus groups, working groups, surveys, and interviews. 

I have participated in leadership circles, think tanks, boards, advisory councils, and steering committees at the intersection of art, activism, social justice, civic engagement, and cultural policy and advocacy. I have presented at national and international conferences and festivals and regularly serve on panels and juries for regional and national artist grants and awards. 

During my 12+ years in Portland, Oregon, I served on the city’s Public Art Committee; co-founded Arts Workers for Equity, co-stewarded PICA’s Precipice Fund as part of the Andy Warhol Foundation for Contemporary Art’s Regional Regranting Program, and served for seven years as an Adjunct Assistant Professor and Advisor in the Art & Social Practice MFA Program at Portland State University 

I am open to consulting, research, and educational work in the arts. Please contact me to inquire about availability and rates.

I am available and excited for independent curatorial projects and initiatives in visual art and performance regionally, nationally, and internationally, as well as for writing about contemporary art and related topics, primarily for independent, alternative, and experimental publications. 

I have written for art and hybrid journals, magazines, and publications, both in print and online, and both national and international. I self-published a chapbook, Dead Best Friends, and am developing a related work, Touch, an experimental narrative and archival book about my best friend, our 15 years of queer friendship, his untimely death, caregiving, medical advocacy, end of life, and grief and loss. Touch has been supported by a grant from Artist Trust and residencies at Centrum in Port Townsend, WA and Studio Faire in Nérac, France.

I would love to talk about how we might work together. 
Please contact me with your project details and timeline to inquire about availability and rates.

I am an independent curator, creative producer, consultant, researcher, and writer in contemporary performance and visual art, based on Twana lands on the Olympic Peninsula in rural Washington. Across all of my work, I strive for anti-racism, equity, and justice and to center artists and communities whose ideas and identities exist outside dominant cultures and mainstream art worlds and economies. 

I am currently the producer of new interdisciplinary performance works by San Cha ; Ahamefule J. Oluo; Holland Andrews; and yuniya edi kwon, which are variously funded by Creative Capital, Guggenheim Foundation, National Performance Network, MAP Fund, and more, and which have been supported and presented by renowned residencies, organizations, and festivals nationally and internationally. With San Cha, I was awarded the international Music Theatre Now Award (2025) for her contemporary opera, Inebria me.

Since 2024, I have worked as an independent consultant with National Performance Network. From 2024-25, I produced a robust program evaluation of their Creation & Development Program at its 20-year mark, as well as conducting a current participatory research process with artists and nonprofit arts organizations to explore and reimagine the future of artists' mobility. I work with a number of other performing, visual, and multidisciplinary artists and organizations in a range of capacities.

From 2012-2023, I was a programs director, artistic director, and curator at Portland Institute for Contemporary Art (PICA), organizing visual art exhibitions; experimental dance, theatre, and performance; sound art; public programs; publications; residencies; community events; grant making through the Andy Warhol Foundation's Regional Regranting Network; and the annual, world-renowned Time-Based Art Festival. Curatorial highlights of my tenure included the establishment of a Guest Scholars & Writers series for the TBA Festival; a symposium, film screening, and public programs on the historicization of HIV/AIDS featuring Sarah Schulman and in partnership with Visual AIDS for Day With(out) Art; Remembering to Remember: Experiments in Sound, co-curated with Felisha Ledesma; No Human Involved: The 5th Annual Sex Workers' Art Show co-curated with STROLL PDX; and two exhibitions co-curated with Kristan Kennedy: We Got Each Others' Back: Carlos Motta with Julio Salgado, Edna Vázquez, and Heldáy de la Cruz, and THROUGH AND THROUGH AND THROUGH: New Work by Gordon Hall, paired with a companion publication of writing by the artist titled OVER-BELIEFS: Collected Writings, 2011-2018.

Since relocating to Washington State, I have served as a co-curator of the 2023 Out of Sight survey exhibition of Pacific Northwest contemporary art and of On the Boards' 2025 Northwest New Works Festival while traveling and working remotely for other projects based around the country.

Outside of institutional curatorial essays and publications, my writing has been published in both art and hybrid journals, in print and online, nationally and internationally. I am currently developing an experimental narrative and archival project about death, grief, and queer friendship.

I hold a BA in Contemporary Visual Culture & Gender Studies from the Johnston Center for Integrative Studies in California and MS in Arts Management from University of Oregon.