Lindsay August-Salazar is an interdisciplinary dance and visual artist currently in residence at Pieter Parking Space, “The Box.” We spoke as she prepared for her solo show, taking place for one night only on February 26, 2026 from 5pm-7pm. A brilliant woman of color (though she chafes at that description) working across disciplines and outside of traditional structures, Lindsay is an artist whose work we want to shine a spotlight upon.
Can you introduce yourself and tell our readers who are you? Where you are from? What is both your personal and artistic lineage?
I was born, raised and I currently reside in Los Angeles. I primarily focused on painting and dance at UCLA and UCI. My artistic practice is informed by a conviction in the power of language to invoke political, psychological, philosophical change/growth. This becomes articulated through the creation of what I call Abstract Character Copies (ACC). As a person of hybrid descent, I was always asked to check a box to define me and there was never an appropriate single box to check. I think we have to make new language. I think what we know has pigeon holed us. Over time I developed my own structural system, The ACC Lexicon, out of necessity to make space for myself and hopefully other hybrid practices that do not fit cleanly in systemic hierarchical structures.
I found that interdisciplinary practice tends to sit between a number of disciplines. I myself am situated between painting and dance. My ACC language functions as a language of choreographic notation that manifests as both a graphic language for writing paintings, painting text or scoring dance. It is a direct form of choreographic notation in the lineage of Rudolf von Laban and the ACC language integrates all aspects of my practice. I see it as a unique, personal form of expression and conceptual exploration of utopian ideas. I use the ACC’s as a tool for communication that engage both performance and painting side stepping hegemonic codes .
Tell us about this performance residency: What are you hoping to achieve? What is the goal of the work? How has it changed from what you originally envisioned?
Well it has transformed quite rapidly. Because of my interest in movement, abstraction and the perception of how we orchestrate/navigate the performance of the everyday, I was so excited to discover Danza Azteca Xochipilli, a dance troupe I’ve had the honor of being part of for the last year. Evidenced with my ACC lexicon, I hypothesized that I needed a language to be employed for my own authenticity and my hypothesis might be proven true by the Codex Borgia. Dating from the 16th Century, I learned of the Codex Borgia from Adolfo Arteaga, the leader of Danza Azteaca Xochipilli. The book is comprised of twenty-eight sections devoted to pictographically describing the Aztec divinatory calendar, idiomatic of a life built around collective ritual as opposed to the commercial exchange we are all accustomed to. Together, our troupe was going to use the residency space to study the codex both theoretically as well as physically moving our bodies in dance until the project was disrupted. Since Danza does not participate in any form of protest-one might even call their ideology a pacifist pursuit- they found it best for them to respectfully leave. Because I organized this residency for the troupe, on some level I felt inclined to stay and follow through with my commitment. Almost with like some custodially responsibility. Now with my concluding performance I will take my experience as a resident of Pieter Parking Space and talk of my time as a story without content. Using my ACC language, a set of linguistic symbols without phonetic or auditory code, I will paint my essay on the Codex, either proving or disproving my perception that the normative use of language in our culture is a form of the imaginary, which can be displaced by authentic voices, like those that learn from the Codex Borgia to this day.
You had an adverse experience in your rehearsal process. Can you explain how this experience affected you personally, professionally and how it changed this particular residency.
Professionally, it has held me accountable to continue my pursuit of attempting to expand the political imagination as I feel it is important to continue to push the narratives of who and what can be done by whom. Though personally, there was a moment where I felt scared to do this work and even to just to give up.
How has it changed your relationship to the community?
As a hybrid multi-racial queer identifying as female, I have always had to perform the role of a bridge constantly being put in the place to link different world views. Being the daughter of a Prussian Jewish mother and a Spanish-French-Native American father from Mexico, a member of the Yaqui tribe, identity has never been a singular experience. In many ways I view LA as a place that is culturally rich because of her cosmopolitan breath. And if anything, even being able to learn more about my paternal roots is a product of just how accessible diversity can be. Though in light of everything, I can’t help but see the red tape and the constructed walls. I think we need to celebrate difference rather advocate for essentialism and really be open/vulnerable to the fact that we collectively can learn from one another because singularly not one of us has the answers.
Will you continue to work on it after your Feb. 26th showing?
Of course, yes I will.
Written by Nancy Dobbs Owen for LA Dance Chronicle.
Featured image: Lindsay August-Salazar – Photo courtesy of the artist