Presence is born in the absent nothingness between the audience and performers. This nothingness is the perfect place to begin to understand what it is not. My research at the SFU School for Contemporary Arts has challenged my assumptions about the relationship to the audience and manufacturing of presence. In reality, the paradox of presence shapes itself out of absence and can only be found when you’re not looking for it. But how could I begin my practice in an unknown with no prior experimentation? Simple: I started with everything I did not know about the void of performance. To build this space of unknown, trust is essential between the actors, the audience, and the performance space for impulse to be triggered by the unwavering commitment to “The Now.” Rooted in my performance practice is the belief that only when there is absence between the performer, performance, and spectator can there be the possibility of instantaneous energy and discovery. My recent works have gravitated towards textual pieces, video editing, and audio manipulation. Pushing through this void repeatedly has created patterns in my material, following themes such as voyeurism, being seen, conversation, silence, and most recently, phone calls.