Heidi's artistic method for independent pieces stems out of an evolving somatic-creative process, loosely structured through an intentional framework of embodied perceptual shifts. She progresses from freely flowing exploration, into deliberate processes which address recognized patterns, biases, or undesirable holistic associations.
While developing choreography, an emphasis remains on beginning in a neutral environment, with intentions to transcend the complex integration of muscle memory which she has acquired through extensive movement research. Her muscle memory spans realms of traditional Chinese Medicine principles, Myofascial/ Trigger Point Release methods, Laban's Movement Theory, Bartenieff Fundamentals, Soft Martial Arts, Classical Ballet and Modern Dance Techniques, Gyrokinesis, Simonson technique, the Foco method, Feldenkrais, Alexander Technique, Ohad Naharin’s movement language—Gaga, various sects of yogic practices (traditional and mainstream), and Contemporary Dance Improvisation methods taught by choreographers/ companies such as Gregory Dolbashian, Baira Movement Philosophy, Kendra Portier, and Brice Mousset.
She has shown an ability to adapt her artistry to suit specific parameters of commissioned and collaborative projects.
Since graduating from the Laban Bartenieff Institute of Movement Studies in NYC, her movement practice has been effected by further studies among the fields of Cultural Anthropology, Dance History, Neurology, Psychology, Philosophy, Physics, and Choreosophy. Her main inspirations lye in the potential for learning through collaborative research and creative exploration.
Collaborating with artists across mediums/ cultures is Heidi's primary passion. Her thesis was based on the concept of adapting authentic expressions within appropriate boundaries of specific cultural contexts. During this intensive research phase, she performed pieces of choreography and structured improvisations in NYC at Contra Gallery and for BattleFest, via invitation. She presented accompanying works of visual art and lyrical songs, which emerged throughout this creative process, for the Laban-Bartenieff Institute of Movement Studies. She describes her process as being humbling, exhilarating, and transformative.
Maintaining intentions to dissolve her own unconscious implicit bias and ignorance, she continues to study and collaborate with like-hearted artists who hope to promote connection, understanding, respect, and innovation between disparate communities.
Before devoting herself to somatic-creative research and collaborative production, she performed with Kanopy Dance Company as a soloist for 6 years and formed a dynamic career as an NCBTMB certified Massage Therapist and Modern Dance Educator for the University of Wisconsin-Madison Continuing Studies Division.
It was during this phase when she began her research via extended stints abroad, exploring as many forms of movement as possible to better understand her body's natural impulses in various states of mind and environments. While making her way from mainstream and underground movement subcultures in the US to traditional and contemporary dance cultures around the globe, she developed great appreciation for movement encompassing both expressive and therapeutic intention; She began to explore the intersection of both movement motivations.