SOUNDWAVES:

ALEXA GRÆ: my work is a combination of artistic disciplines informed by specialized academic training in music composition and opera. rigorous training as an opera student challenged me to transcend the boundaries of various art forms and to understand cultural boundaries of art in the everyday world. i bridge these chasms by focusing on how art informs identities, socialization habits, self-expression, and the ability to create, creating genre-defying performances that incorporate multiple dance styles, theatrical personas, and experimental storytelling design. recently, meditation study, astrology, and a long distance running practice have become elemental in my world building. in previous works i have built performance around the “idea” of opera or the feeling of an opera. this current work explores what opera can be. setting a new course towards the future i aim to shape-shift the nodes of possibility and accessibility. i have an unabashed desire to create work that is identity inspired, highly complex, nuanced, and layered. a synthesis of the esoteric - revealing infinite seats at the table of: the human experience. my practices and study allow concerted effort towards operatic transformation: presenting subject matters and themes that feel emergent. themes of deconstructing classical forms, beliefs about the feminine and masculine, and channeling greater collective consciousness find an evolving presence in my work. my mission is to identify moments of pure imagination and innocent creation, harnessing the immediate kinship it creates in order to draw us all toward something divine, something as yet to be defined.

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i have always been attracted to the mystery of performance and often gravitate towards the slippage of the tangible and the surreal. everything i create is a moment of “immersive art” - i find its definition synonymous to my entire output. labels that feel fitting to my work are: hypnotic, inviting, captivating, enchanting…etc. most of my work explores the dreamworld, relationships to time, romances with nostalgia, and the future. as i've been exploring and returning to these themes i’ve become more attuned to the relationship to the journey for the audience. i am examining concepts of pace design and audience trust. i feel that as a performer it is important for me to manage momentum and construct points and passageways of ease and breath, for the audience as well.  the purpose of managing the shared breath is that it obscures the performance form and brings on a feeling of flight or “heady allure”. in my works my attempt is to stretch into accumulation and dissolve without breaking the seal or undoing the magic and establishing my body in the space as a symbol of pure presentness or the transmutations of time existing in the now. in all my durational performances i revisit my own opinion, which is: the end is only as dazzling because of its beginning.