Rhea is an artist and teacher, working primarily in dance and video. Their work has been presented in backyards, galleries, and theatre spaces across the United States, as well as in Colombia and New Zealand, with support from the Puffin Foundation, the Verdant Fund, the Alabama State Council on the Arts, and the National Society of Arts and Letters. Rhea is committed to the teaching/learning experience and believes that the exchange that happens in the classroom is integral to their work. Rhea has shared their commitment to craft with students at Birmingham-Southern College (Alabama), the University of Wisconsin - Milwaukee, the University of Illinois at Urbana-Champaign, Danza Común (Bogotá, Colombia), and various other institutions, festivals, and art centers. They have had the pleasure of performing with Sanspointe and Corpus Euphonium in Birmingham, Alabama, with Steamroller Dance Company in San Francisco, and with April Sellers Dance Collective in Minneapolis, Minnesota. Rhea holds an MFA in Dance from the University of Illinois at Urbana-Champaign and a BA in Telecommunication and Film from the University of Alabama. Rhea's creative practice is influenced by their experience studying and creating with artists they admire, including Jennifer Monson, Niklas Vollmer, Jessie Young, and Sycamore Toffel. In making their work, Rhea uses ballet and contemporary dance forms, video, and their desire to fully integrate the imagination with the body. Some of their thoughts about the relationship between dance and video are published in a performative essay titled "The Carpet" in Undisciplining Dance (2018), edited by Carol Brown and Alys Longley. Rhea is currently on faculty in the Department of Theatre & Dance at the University of Alabama.

My making and teaching practices are motivated by the idea that art elevates consciousness and awakens the imagination. I am drawn to dance and video because both are composite forms, which reflect the additive and collaborative methods I use to know the world, and because they lend themselves to making expressions of the world that are recognizable but reformed through fantasy. I believe in the importance of cultivating the imagination and practicing creativity as we try to understand ourselves, connect to one another, and address the challenges of being alive. The art that I make is driven by a desire to interrogate the cultural systems I have inherited and to experiment with new ways of being.

I share my creative practice through classes and workshops that examine theories of moving and making through processes of moving and making. My areas of specialty are composition for performance and video, somatic approaches to ballet and contemporary dance styles, and ballet history re-examined through practice. As we research established methods, we also experiment with possible futures. My desire is for the classroom to be a place where we pursue our own research interests in conversation with one another. I adapt methods and materials for the people in the room.