My work is deeply informed by collaborating with performing artists, translating abstract concepts through construction into subtle, tactile costumes. Visual attributes expand movement, explore tensions, negative space, flow, and patterns, and emotional attributes enhance and sharpen the performer's sense of their role. Then I reconfigure these fine lines. I chose lineamente as a name, as it suggests both trailing, defining lines, emphasizing vault lines created by the underlying motion or tension. By observing where thought and motion erupt and how the 'weakest' area gives way to expose what is contained underneath, there is a re-negotiation of form, of edge, of outline, of lineament. This encourages a certain fearlessness - it is futile to take sides, the exposure of the inside reflects but a shift in perception. Edge emerges as a crucial border where cloth ends and skin begins, where texture of cloth borders on air and space. There is something very lyrical about bridging the emerging juxtapositions, a continuity of thoughts lingering, unraveling, trailing off, of questions unanswered and sutras.