Acts of Holding Dance translates live dancer movement into a continuous generative data field, rendered as a spatial projection that responds to the body's decisions in real time. The work makes the invisible logic of movement (weight shifts, spatial choices, the commitment or release of a phrase) visible and readable to anyone in the room.

The system extracts Laban Effort qualities from motion-captured performance and maps them to a generative visual language. The rendered field is driven entirely by the dancer's choices; no artist-directed animation overlaid on top. The output is different each time the work activates. The research question embedded in the installation: if you can read the shape of a decision in space, does dance become more comprehensible?

Principal artist and projection lead for the James Harden Vol. 6 campaign launch. Motion-led visual identity and projection-mapped content designed for high-footfall public environments and retail activations across six outdoor sites surrounding Barclays Center.

The design language draws on choreographic principles: rhythm, weight, and spatial commitment read directly from Harden's movement vocabulary as an athlete. That movement logic was abstracted into a visual system — motion curves, impact frames, and particle trajectories — that reads clearly at scale from street level and in short-duration exposure.

Working within tight campaign timelines and a fixed visual identity, the challenge was to produce content that felt authored and alive rather than templated, while remaining legible to a public audience with no prior context. The work sits within the broader practice of using movement as source material for spatial and visual systems.

Projection commission for the WNBA All-Stars, developed on location with the players and a full production crew. The work uses motion capture to record the athletes' movement directly, feeding that data into the generative visual system rather than working from abstracted or secondhand reference.

The process is collaborative by design: movement vocabulary is built with the players in the studio, the resulting data shapes the projection content, and the output reflects choices made by those specific bodies. The work draws the line of inquiry from Acts of Holding Dance into a different register — large-scale sports commission rather than gallery installation — while keeping the same core methodology: choreographic data as the source material for visual systems.

Working at this scale, with professional athletes and broadcast-level production standards, requires the same precision as gallery-context motion capture: calibrated capture volume, clean data extraction, and a pipeline that translates movement qualities into rendered output without losing the specificity of the original performance.