I hate bios

Hi my name is Kelly Todd - I started adding in my middle name because that was almost my first name and there are a million Kelly Todd’s in the world. I blush extremely easily and was made fun of for this from early childhood well into today. This trait still embarrasses me so please do not be that person who once I start blushing blurts out “OMG LOOK HOW RED YOU ARE”. I feel the safest and most at ease when I’m surrounded by nature - being swallowed by waves, strolling in the woods, exploring mountains, or marveling at the desert. I’m pretty shy upon first meeting and sometimes look like I’m drifting off when I’m intensely listening. I moved to LA for a man once and though the relationship didn’t work, it was one hell of an adventure. I always said I would never live in New York City, yet here I am going on 10 years.

My gut is my guide for everything - collaborations, food, loves, packing. I tend to flee my “home” every two years for a big adventure that reminds me that my home is where my community is and that the planet is truly a big beautiful gift. I cry at pretty much everything and could spend weeks watching great films. I have a deep obsession with surrealism and I’ve recently become enamored with native plants and dried bouquets. My alter ego dream is being in a roller derby.

I miss my grandfather deeply. I sometimes wonder if I’m on the right path and am reminded that the present is always the right path. I love the magic of childhood and am craving art that shakes me to my core.

Photo by: Pat Berrett
Top photo by: Stephanie Crousillat

The bio the applications and magazines want

Kelly Ashton Todd is a director, choreographer, performing artist, and environmental activist who makes work for both live theater and film. She currently lives in Brooklyn, NY. She is originally from Lake Jackson, TX, where she began her passion for the environment from being surrounded by live oak trees, the beloved creek, and blue crabs along the jetties. Her work explores land and human exploitation, environmental politics, and surrealism.

She received a BFA in Modern Dance from Texas Christian University and a Double Minor in Biology and Environmental Science (2011) along with a Master’s in Sustainability Leadership from Arizona State University (2021). Kelly performed with the off-Broadway show Sleep No More from 2015-2022. She graduated from the William Esper Acting Studio in 2022 and along with performing, she also teaches Environmental Science, Film Design, and Sex Ed at Waterfront Montessori in Jersey City, NJ.

Kelly’s creations have been showcased globally. She has presented work at the Kaufman Hall at the 92nd St Y, Pioneer Works, Dixon Place, NOoSPHERE Arts, ‘T’ Space Rhinebeck, Usine C, and Meow Wolf Santa Fe. She has been awarded the Brooklyn Arts Council Grant (2019, 2020, and 2022), Jerome Hill Foundation Finalist, F21 NYSCA in Media Grant, Puffin Foundation Grant, LEIMAY Fellowship, Human Impacts Institute Environmental Health Fellowship, NYFA Fellowship in Choreography, Emerging Choreographer for Springboard Danse Montreal 2022, and the Baryshnikov Artist Residency in 2023. She was a panelist for the United Nations in 2023 where she shared her creations and spoke to the intersection of climate change, female empowerment, and technology. Her award-winning environmental dance film series, Under Review, has attended over 20 film festivals nationally and internationally. Most recently, Under Review: Katahdin was awarded the New Vision award from the International Wildlife Film Festival.

Artist Statement

In the murky depths of the Texas marshes, amidst whispers of forgotten tales and the stifling grip of societal expectations, I found solace and inspiration for my adoration of horror. There, amidst the sinewy tendrils of Spanish moss and the ominous vibrational sound of cicadas, I found an understanding of the visceral, the sensual, and the macabre. It is within this realm of the organic and the grotesque that my art finds its pulse.

Raised amidst the shadows of the Deep South, where women are taught to suppress their voices and yield to the voracious desires of men, I learned the harsh lesson of silence, where dreams were deemed frivolous and aspirations deemed inconsequential. The boys would learn from their fathers to take from the girls while parked in the dark fields, and us girls deserved standing ovations for our masterful performances in feigning affection toward boys (oh, I’m sorry, I mean men).

Yet, in the sanctuary of my backyard, where a swing set became my chariot to the heavens, and towering live oak trees embraced me as I climbed higher and higher, I discovered a world untainted by societal constraints. Here, the creek flowed with hidden life beneath, where nature nurtured my imagination and granted me the courage to defy convention.

The crude beauty of nature, its intricate dance between creation and annihilation, has left an indelible mark on my soul. Each venomous snake, each ripple in the creek, speaks of a narrative both delicate and brutal, a dichotomy I strive to capture in my work.

I saw myself mirrored in each hurricane that roared in; their tumultuous torrents watering the land and fueling my sense of resilience. And as the nearby beach beckoned, I would stand out on the jetties, learning from the blue crabs and the vast expanse of possibility stretching to the horizon. In the boundless stretch of the sea, I found the freedom to explore, to dream, and to defy the constraints imposed upon me, finding in the embrace of nature the strength to forge my own path, unyielding and untamed.

I intertwine this with my inspiration in the dark recesses of horror cinema. The impact of classics like "Texas Chainsaw Massacre" echoes through my creative process, intertwining with the unsettling beauty of masterpieces like "Midsommar" and "Possession."

Through immersive physical theater and film, expressed through the language of dance, I craft narratives that intimately reflect our planet's climate crisis.

Inspired by the works of directors Yorgos Lanthimos and Jordan Peele, my storytelling infuses narrative tension and psychological depth. Influenced by artists Dorothea Fanning, Nicolas Party, and Ana Mendieta, along with architect Neri Oxman, I explore the intrinsic power of the natural world and perceptions of form and space. Positioned at the intersection of the human psyche and wild landscapes, my art finds its home.

One of the primary sources of influence on my work is my higher education, which, rooted in predominantly white scientific perspectives, initially shaped my understanding of conservation practices. However, over the past seven years, I have dedicated myself to unlearning these narrow viewpoints and embracing more authentic approaches that prioritize community involvement and biodiversity preservation. This journey of re-education has been instrumental in informing the direction of my current projects, infusing it with a sense of purpose and urgency.

Furthermore, my experiences of witnessing daily instances of greenwashing and governmental negligence have fueled a deep-seated anger within me, further driving my commitment to challenging these systemic injustices through my art. Moreover, my ancestral heritage, particularly my German roots, and upbringing in the conservative milieu of Texas, have played a significant role in shaping my artistic sensibilities. I am deeply inspired by the lessons of history and the need to confront the traumas inflicted by my forebears.

I aim to amplify the voices of voiceless lands, fostering innovative connections between individuals and the environment. Through evoking emotions and sparking dialogue, my work strives to inspire meaningful action, urging people to vote, advocate, and protect our precious planet.