“… Being Māori, I did not, when I was younger, even connect that with my practice. It’s become more and more important, but it was something that I grew up feeling not positive about. So, to feel like I can embrace that now has been a really beautiful process for me.”
“I’m working with whatever is in the room. I’m working with the day. I’m working with what I’m moving through personally. And what it feels like is going on in the world at the time.”
“I was like, I don’t just want to perform, I don’t just want to compose, and I was getting into improvisation. I just got introduced to the underground experimental music scene in Seoul and I discovered there are so many cool people who think outside the box and music practices out there that I never thought about and that school never taught.”
“Making work and creating spaces to share it matters. The act of sharing is just as important as the content. We need to honor interiority, connect in ways that go beyond words, and keep responding to the world as it is.”
“When you play an instrument, your body almost becomes part of that instrument. You co-resonate with that instrument in a way where you’re working together in this very physical partnership, like a dance.”
“Clown has taken a lot of pressure off my own work, and it made me less afraid of how I’ll be received and more willing to take risks without needing things to feel polished.”