I am a multi-ethnic, multi-disciplinary, technology-loving, polyglot and autodidact. I have a fun and multi-page CV that I refuse to list in my bio. E-Mail me if you're interested in checking that out. I grew up in Tejas on the colonized territories originally known as home for the Tawakoni and Wichita nations. I am the son of an immigrant father and Louisianan mother. After studying theater in my undergraduate studies, I moved to NYC where I did some strange theater and performance art. From NYC, I was plucked to join Ohio University's MFA directing cohort where I began a deep reclamation of my Venezuelan roots and acknowledgment of the history of the colonized South American country.
I am in love with Germany's Freie Szene (free scene) and Post Dramatic Art. Each piece that I work on is an investigation. My current investigative interests are surrounding future technologies that artists can utilize to produce new pieces. I push for green alternatives in making live performance. The practice that I am developing in theater is centered around an anti-imperialist structure; therefor, I call myself a collaborator and generator.
Beginning in 2018, I have been developing new translations of the Nobel Laureate, Luigi Pirandello.
Oh and I'm writing a fiction novel. It'll be my debut.
In 2017, my überaus talented friend Kelsey Oliver approached me about developing a show together. In developing that amazing Dada-Surrilist-Absurd piece of dance-theatre alongside Chris Conard and Alexa Capareda, Frank Wo/Men Collective was born! Kelsey, Chris, Alexa, and I now make up the producing team for Frank Wo/Men Collective.
So far, Frank Wo/Men Collective has been mentioned in American Theatre Magazine, featured in Arts and Culture Magazine Texas and Sightlines Magazine, named Best of Austin 2019 listed as Top Arts Related thing to do 2019 by the Austin Chronicle, listed as Top 10 thrills in Austin 2017, and nominated for Outstanding Ensemble in Austin, not only for 2017-18 but again for 2018-19. Our most recent production "Rub A Duck" was regarded as, "a daring, experimental masterstroke" by Austin Arts Watch, and The Austin Chronicle wrote, "I witnessed, hallelujah, what a capering cadre of highly talented minds and bodies can do..." whereas, The Austin American-Statesman describes it as, "an unforgettable Austin theater performance."