HOME (durational performance) – Performer/Co-creator

March 2016, Atlas Performing Arts Center, Washington, D.C.

A live art installation created by John Moletress and Eames Armstrong

HOME is a live art installation unraveling the question of “what is home?” The transient artist interrupts temporal and fragile images of home in a turbulent economy of artistic practice and sustainability.


The act of defining home is an exclusionary process, simultaneously designating that which is not home. This live art installation intends to trouble the possibility that home can ever be fixed or static, but is rather a process that runs alongside our endless navigation of living.


GUN SHOW (durational performance/video installation) – Performer/Video installation designer

February 2016, OUTsider Festival, Austin, TX

America’s obsession with gun culture is transmitted through queer territories in media and live performance. “Sexy” gun culture occupies the grounds of The Vortex in Austin, Texas, while adjacent on a dirt filled wooden stage, the artist performs a score of 462 falls, one for each of the victims of US mass shootings in 2015.

Ten digitally sequenced monitors encased in a hot pink neon handgun display a frenzied barrage of ALL THINGS GUNS. From bikini-clad shooters to NRA commercials, nude men flexing to YouTubers and vintage video games, media acts as a weapon itself, assaulting the viewer with a relentless audio-visual score as impossible to navigate as US gun legislation.



2015-2016, Abrons Art Center, Homotopia/unity theatre, King’s College London, The House at Plymouth University, The Gulbenkian, Dance Place, George Washington University, OUTsider Festival, FUNDarte, EMP Collective

JARMAN is a performative gesture inspired by iconic queer artist, filmmaker and gardener Derek Jarman. Temporal orientations arise and fall away as one performer in space traces the origins of Derek Jarman’s brilliant queerness. Merging landscapes of text, video and live performance, JARMAN orientates itself to both present and past, gazing upon the icon through imagined territories and constructed spaces, making room for the possibility of a conversation across time. Performed by force/collision’s Founding Director John Moletress with a text by OBIE Lifetime Achievement Award-winning playwright Caridad Svich, JARMAN is a transatlantic flight through memory and time.


SEBASTIAN – Video Projection

November 2015, The House at Plymouth University

This video projection installation was created in tandem with JARMAN (ALL THIS MADDENING BEAUTY)


AND NONE OF THE BOY PARTS – Performer/Creator

March 2015, Dance Exchange, Washington, D.C.

[AND NONE OF THE BOY PARTS] is a performative gesture dissecting notions of orientation, bodily transmission, queer love and capitalist sex. Choreographic temporalities and material functionality merge to unpack the ethics of finding a sexual partner in a media-addicted landscape.


WENDELL. – Playwright/Director

April 2015, Commissioned by McDaniel College, Westminster, MD, Published by NoPassport Press

A riff on Woyzeck. Büchner’s 1837 fragmented tragedy of a young, broken soldier is transported to present day Charles County, Maryland. When Wendell plays Doom, he plays in his gas mask. In the kitchen, mother Mary washes her mouth with Jim Beam as she imagines her former days as the crowned Queen Nicotina. Father Bundy hears war sounds while cleaning his gun. Mike and Doc have a garage band, but they’re not very good. Alice, wife of Mike, obsesses over her cashier scan time. And their son Andrew likes to play football but has a bum knee.


TRUST ME – Director/Co-creator with force/collision

June 2014, Arena Stage, Washington, D.C.

Trust me is a US premiere dance/theatre project with text by playwright Falk Richter and source material to explore the effects of Western culture and American consumerism on the body and psyche.


SHAPE – Director/Co-creator with force/collision

September-November 2013, La MaMa ETC and Atlas Performing Arts Center

SHAPE is a collaboration with playwright Erik Ehn. Poetically imagist and defyingly theatrical, ShAPE begins in 1900 Ambrose Park, Brooklyn at the end days of “Black America”. “Black America” was a historically documented, vast spectacle of vaudeville dances, variety acts, folklore and songs with a cast of 500 African-Americans. Based loosely on the biographies of African-American vaudevillians Billy and Cordelia McClain, SHAPE concerns the life and labors of vaudevillian fairies exploited for their historical songs and dances, used by the dominant culture and abandoned at times of great need.


THE NAUTICAL YARDS – Director/Co-creator with force/collision and Rebollar Dance

April 2012, Washington Navy Yard

The Nautical Yards is an original devised, site-specific dance/theatre performance created by force/collision for The Yards Park, Washington, D.C. Inspired by the rich history and architecture of the Washington Navy Yard, The Nautical Yards chronicles the story of two lovers separated by war and the sea. This performance draws on documented accounts of the Navy Yard civilian work force, personal war correspondence and letters and the mythology of water. The running time of the performances will be approximately one hour over sunset.


MISTAKES WERE MADE – Director, a play by Craig Wright

March 2012, Stage Repertory Theatre, Houston, TX (Regional Premiere)