About Meg.

I am a Philadelphia-based performer, choreographer, and director of moving parts, the name I ascribe to my various dance- and performance-based actions that explore the materiality of dance and physical identity as form. For the past nine years I have been researching improvisational practices and embodiment frames that engage with meaning-making through practiced attention, danced affirmation, expansion, and relationality and a concern for the action of decision and engagement as form. 

My work has been presented locally by the Philadelphia FringeArts Festival, Vox Populi Gallery, Moore College of Art & Design, Pilot Projects, Bowerbird, Thirdbird, and Icebox Project Space, throughout the U.S., and in Canada, Germany, and Poland. My research has been supported by grants from the Pew Center for Arts & Heritage, the Independence Foundation, and the Polish Cultural Institute and through residencies with Art Stations Foundation and Dancemakers Centre for Creation. I sometimes teach at University of the Arts and am creative co-director of The Whole Shebang, an interdisciplinary arts space and studio in South Philadelphia that hosts workshops and classes and provides studio rental to artists at affordable rates.

View my CV here.
Read my writing here.

Start reading my most recent artist statement...
As an artist and a queer person, I am interested in the mess of being human, in the spaces in between, and the collection of delicate and resilient parts, responses, and relationships that make us who we are (me who I am.) I want to know where rupture happens. I want to know how things fit together in order to see how they come apart towards something new, named and recognizable or wholly unique. I make work in large part to grapple with my own feelings of mortality and to celebrate the embodied feeling of human connection.

Through my work, I am actively trying to multiply – to many myself, to reincarnate in the present, and to engage in as many ways of being with others as possible. I want to slip forward from what I see or presume to what is potential, both externally and internally.

I make dances that are highly physical and based in improvisation and intricate scoring. They are collaborative and responsive to their circumstances, up to and including the moment of performance as further research. ...Finish reading it.

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