about
curriculum vitae
biography
Christopher "Unpezverde" Núñez is a Costa Rican/American, BESSIE Award-nominated choreographer working on sensory-based movement and innovative audio description, on themes of disability, immigration, and indigeneity. Núñez is an acclaimed educator celebrated for his "Vortex" methodology approach based on spatial orientation, axes, and planes, using propioceptive breathing and bioelectricity as triggers of bodily movement. He is in faculty at Movement Research, and has lectured at Princeton University; The New School; NCCAkron,The National Center for Choreography; University of Michigan; Dance/USA Conference; and Rutgers University.
Recent works include: The Square (Abrons Arts Center); Above Deep Waters (Battery Dance Company); The Circle or Prophetic Dream (Jacob’s Pillow; Danspace Project); YO OBSOLETE (Jacob’s Pillow; Brooklyn Museum; Leslie-Lohman Museum); and A Garden in the Shape of Dreams (The Kitchen). He’s been in residence at Loghaven, TN; The National Center for Choreography-Akron, OH; Abrons Arts Center, NY; Brooklyn Academy of Music BAM, NY; Danspace Project, NY; Center for Performance Research, NY; Movement Research, NY; and The Kitchen, NY. He is a Jerome Hill Artist Fellow (2023), Dance/USA Fellow (2023), Princeton Arts Fellow (2022), and Leslie Lohman Museum Fellow (2018).
In 2023, the World's Premier Art Magazine "Art In America" selected Núñez as one of 20 up-and-coming artists for their recurring feature “New Talent.” The same year, he received a New York Dance & Performance Awards “Bessies” Nomination for Outstanding Performer.
Núñez is currently working on his new commission for Axis Dance Company to premiere in Spring 2026; he’s writing a book of his Vortex methodology; and researching for his new project “Tamata,” an exploration on votive offerings, theology and disability.
artist statement
I am a visually impaired choreographer working in dance, film, and installation.
In my practice, movement becomes a ceremony, flesh acts as the medium, and the space grows into a sanctuary steeped in symbolism.
I aim to transform visual-motor concepts into internal somatic experiences, utilizing proprioceptive breathing and bioelectricity. My practice investigates how bodily alignment, orientation, and spatial translation can act as an alchemical, transformative force for reclaiming land and identity.
I create artistic audio descriptions that transform visual scenes into sensory, evocative experiences through spoken and written language. This journey has led me to produce text-based choreography—poems, notes, and scores—that uncovers the innate abstract nature of dance without dispelling its mysterious power.
I explore the, political/social/artistic, dimensions of disability, migration, and Indigeneity. My two-part choreography "Sacred Geometry"—comprising "The Circle" and "The Square"—delves into the ethics of immigration and displacement, presenting a vision for reconciliation amid ongoing, global, geopolitical instability.
Memory and imagination are central themes I consistently explore, notably in my triptych "Memoirs of a Disabled Child"—comprising "YO OBSOLETE," "A Garden in the Shape of Dreams," and "A Fuzzy Yellow Spot."
My new project, "Tamata," investigates ex-votos (votive offerings) as ritualized acts of supplication and tangible pledges for the "rehabilitation" of the disabled body.