Dann Xiao is a multi-disciplinary artist, dancer, and choreographer working in London. Since working with Casper Dillen on the RnD of imitating the dog's Frankenstein (2024) and the creation of All fish are dead fish (2024) she has played a pivotal role in Small Sample Size Theatre as a performer, assistant director, and stage manager. Mouth Wash and Razor Blades (2025), The Agreement (2024), A mirror is not a mirror (2024) , How Often?, Not on Monday and Wednesday (2024), Three Body Problem (2024), Transparent Tree (2024) , and All fish are dead fish (2024)
Dann's sculptural practice challenges or reinterprets how objects relate to fundamental human experiences like self-harm, survival, and sport. By subverting these connections, she alters the way these objects are used, perceived, or understood—perhaps stripping them of their usual functions, changing their contexts, or questioning their inherent meanings.
In her choreographic practice, similar strategies emerge. The techniques of multiplication, arrangement, and separation (which she applies in sculpture) translate into movement through repetition, editing, and game-like structures. A structured approach to choreography, shaped by patterns, reconfigurations, and possibly elements of unpredictability or play.
With reference to game-like structures, her practice at times involves rules, constraints, or competitive dynamics, making it interactive or systemic, mirroring sports or survival mechanisms.