My creative practice incorporates theatrical and kinesthetic studies developed with an ensemble as we investigate the “empty nature” of things through songs, vignettes and dances. The ensemble consists of dancers, musicians, singers, writers, actors, videographers and set designers, collaborating with their dancing bodies, resonant voices and skillful choice-making both inside and outside of their particular fields. My view of emptiness is primarily influenced by Douglas Harding's book “On Having No Head: Zen and the Rediscovery of the Obvious” in which the thesis is distilled to the following: “As something, I am merely that thing. As no-thing, I am all things.” Devotional inanimate object studies are the ground for characters and creatures to develop. Language as a mediator breaks down and is played with in a way where new meanings arise. Through the lens of emptiness, the performers acknowledge our “scales of appearance” or the ever-expanding and ever-contracting sense of self. What things are, who we are, depends on the range of the observer. From the cellular to human perspectives, from a city to the planet, this truth illustrates our interdependence of others and all things. These implications of our empty, ultimate reality have the potential to seep into our relative, everyday lives, garnering freedom.