Mady Buerck

Mady Buerck (She/Her, Farmington, MO) is a Dancer, Choreographer, and Creative based in St. Louis. She had her start in the art form at a young age and was able to experience many amazing opportunities, such as being a finalist on Season 8 of America’s Got Talent with acrobatics group, Innovative Force. She graduated in May of 2024 from the Conservatory of the University of Missouri-Kansas City with a Bachelor of Fine Arts in Dance Performance and Choreography. Upon graduating, she joined Saint Louis Dance Theatre, formally known as Big Muddy Dance Company, where she is currently finishing up their (Em)Brave 2024-2025 Trainee Season. She has worked closely with and performed works by a variety of professionals, including Geoff Alexander, Jorrell Lawyer-Jefferson, Kirven Douthit-Boyd, Avree Walker, Brandon Fink, Gary Abbott, Kam Sanders, Ray Mercer, Nicole Clarke Springer, and Christopher Huggins, among others. She is the Assistant Studio Director for Studio E Dance in Edwardsville, IL, and she travels throughout the country, teaching and choreographing for both creative and competitive projects. In 2022, she also received a Bachelor’s in Communications with an emphasis in Professional Communication from the University of Missouri-Kansas City. She is fueled by creativity and hopes to inspire others throughout all her current and future endeavors.
IG: @madybuerck
Photo Credit: Kelly Pratt

About this piece: "Third Party" is a play on both the conceptual narrative of the work, in which a third entity represents a relationship personified, and it also represents the element of a third party - the audience, participating and influencing the work, itself. You, as an audience member, will decide the process and, therefore, the outcome of the work. It is an immersive experience in which could vary drastically, entirely dependant on YOUR influence.

Chrissy Clair &
Abbi Lebaube

Chrissy Clair (she/her) is a 2020 graduate of Webster University’s Department of Dance, with a BFA in Dance and receiving departmental honors. Chrissy now dances professionally and teaches throughout the St. Louis area, including at her home studio in Farmington. She is entering her fifth season with RESILIENCE Dance Company, where she is not only a company member but also serves as the Costume Designer and Coordinator. Chrissy has been involved in every Space Station since its inception in 2020, dancing in six pieces and collaborating with four different choreographers. This year marks her first time choreographing for the Space Station Residency — and she is so pumped, especially getting to collaborate with her best friend, Abbi LeBaube!
IG: @chrissyclair
Photo credit: @keeperofspells

Abbi LeBaube, a native of St. Louis, Missouri, has spent the last twenty one years passionately researching and loving dance. Her experience began at Motion Express School of Dance and Acrobatics and continued at Webster University where she graduated summa cum laude with departmental honors, receiving her BFA in 2023. Through classes and performances, she had the rewarding opportunity to work with the incredible faculty, alumni, and performed in works by José Limón, Ballet Hispánico, & Abby Z and the New Utility. She also had the privilege to continue her study and performance abroad in Accra, Ghana (summer 2022). Abbi is currently in her third professional season with Resilience Dance Company, where she works with numerous world renowned choreographers, tours throughout the country, and collaborates with her peers. A few of her freelance experiences include performing in works by Emily Duggins Ehling, Jakki Kalogridis (Space Station Dance Residency 2023), and most recently receiving Best Talent at Miss Gay America. LeBaube has great passion for creation and choreography, she premiered her new work “Sight Beyond The Ceiling; Lips are Moving” in collaboration with e-GoS through Big Plate Dance. Her work has also been presented at ACDA’s Gala concert and commissioned by Resilience Dance Company.
IG: @abbilebaube
Photo credit: @keeperofspells

About this piece: We watch the woman with dark red lips rip the cherry off the stem, never breaking eye contact, tossing the stem into her mouth, and tying it into a knot with just her tongue. Fruit and sex is ubiquitous. Through movement, Clair and LeBaube will reference the past, influencing each other to think outside of the box. The fruits will be our guides. Both have a unique approach to using movement in establishing identity in an ever changing society. Our research also pulls from the present. As personal as our sexual experiences, to experiences of social media, and the war we are still undergoing to protect women’s reproductive rights in this country.

Ellie Harrison

Elinor (Ellie) Harrison (she/her) is a teaching artist and movement scientist whose work spans performance, choreography, teaching and neuroscientific inquiry into human movement. She has performed nationally and internationally with numerous dance and theatre companies. While dancing with Jane Comfort and Company, she performed at venues such as the Joyce, Jacob’s Pillow, and La Mama, and was hailed by the Boston Globe as “sprite-like” and noted by the New York Times for her “forceful tumbling phrases”. She also danced for choreographers including Noémie Lafrance, Thomas/Ortiz, Nancy Meehan, Mary Seidman, and Carlos Orta. Her theatre career included touring and regional productions of “A Chorus Line”, “How to Succeed in Business without Really Trying”, “Hello Dolly!”, “Seven Brides for Seven Brothers”, “Thoroughly Modern Millie”, and “Evita”, among others. On film, she can be seen in “Black Swan”, “Friends with Benefits”, and “Every Little Step.” Her own choreography has been presented at The Field, Movement Research, Brooklyn Arts Exchange, Dance New Amsterdam, and the Invisible Dog. She holds a PhD in Movement Science from Washington University in St. Louis. She currently  teaches dance and neuroscience courses while conducting research studies to help people with movement impairments due to aging and neurological decline. Her current lines of research include using singing to improve walking in people with Parkinson disease, ballet to improve balance in older women, and somatic-based therapy to benefit people with hypermobility disorders.
linktr.ee/elinor.harrison
Photo credit: Brea Youngblood

About This Piece: Move, speak, move, speak, speak, speak, move, stop, don't stop, I can't hear you, speak up, sing out, there's so much noise, rise above it, don't stop moving, your silence is deafening.

Ally Lamkie

Ally Lamkie is a St. Louis native who began her dance training at On Your Toes Dance Studio in 2015. Currently, she is entering her final year at Webster University, pursuing a Bachelor of Fine Arts Degree in Dance with an emphasis in modern. Ally is the producer of Webster University Dance Ensemble’s “Creations Concert,” held twice a year to give students the platform to showcase their own works. Alongside producing, Ally additionally choreographs several pieces for the “Creations Concerts,” through collaboration and solo studies. Outside of Webster, Ally has had the opportunity to work with other companies and organizations, such as Space Station and Resilience Dance Company’s “Collective Realities” concert. Ally’s desire is to make art and dance more accessible while discovering new ways to do so. She encourages individuality and hopes to not only invoke excitement in the audience, but in the dancers as well.
IG: @allylamkie2.0
Photo credit: Carly Vanderheyden

About This Piece: “Perhaps” creates an atmosphere that allows for interpretation within a theatrical, narrative-driven expression. This work explores the ideologies surrounding a common question I ask myself in performance settings: ‘Is this reality, or am I interpreting it differently?’ Each audience member is submerged into having a personable experience. Presented through a lens of devious theatricality, sensations and limits will be provoked until humility is granted. There is no correct way to view art- to enjoy art, is to view art."

Sarah Yvonne

Sarah Yvonne is a choreographer and movement artist whose work deconstructs classical ballet through experimental performance, ritual, and raw personal narrative. With over 25 years of experience, her current practice centers on redefining the female dancing body—no longer as an object of perfection, but as a site of rupture, memory, and reclamation. A former soloist with The Alabama Ballet, Sarah’s early foundation in classical technique now serves as the soil from which her choreographic language redefines and reimagines. Her latest work, SHOES: Evolution of a Dancer—commissioned by the Hunter Museum of American Art—explores the tension between submission and self-realization through a duet rooted in myth, trauma, and transformation. Melding spoken word, vinyl soundscapes, and emotionally-charged improvisation, the piece marks a definitive shift in her artistic trajectory: from preservation to provocation.Working with adult dancers in collective creation, Sarah builds immersive, collaborative processes that center the body as archive and altar. Her projects defy polish in favor of pressure—asking dancers and audiences alike to confront discomfort, presence, and meaningful-making in real time. Collaborations with sensorial artists, composers, and musicians continue to expand the reach of her work beyond traditional dance boundaries. Following a pivotal performance at Space Station Dance 2024, she returns now in full transformation—ready to dismantle inherited forms and shape new ones in communion with others willing to witness, reflect, and risk.
IG: @_sarah.yvonne_
IG: @esprit_arts_collective
Photo credit: @kenyonpictures

About this piece: SHOES: Evolution of a Dancer, a raw and revelatory duet exploring the transformative terrain between rupture and reclamation. Commissioned by the Hunter Museum of American Art and now proposed for full development at Space Station, SHOES offers a deeply personal excavation of the dancer’s journey through ritual, memory, and self-definition. Drawing inspiration from Hans Christian Andersen’s "The Red Shoes", SHOES unfolds as a duet between a heroine and her shadow—a soul in dialogue with its puppeteer. Together, they embody a living metaphor for the struggle between submission and sovereignty, shame and joy, performance and presence. What begins barefoot and bare becomes a crucible of voice, vinyl, and visceral movement, examining the impact of forces that elevate, distort, and control. Through embodied inquiry, SHOES interrogates religious shame, feminine failure, and the myth of perfection. SHOES: Evolution of a Dancer invites viewers into a courageous process of undoing, questioning, and reimagining. It’s not about arriving—it’s about becoming.