Biography

Paxton Ricketts was born in Denmark and grew up in Canada. He trained at Arts Umbrella Dance from the age of 9 until 19.

In 2014, Paxton joined Nederlands Dans Theater 2 and moved to Nederlands Dans Theater 1 in 2017. During his time with the company, he toured worldwide, performing work by world-renowned choreographers. He left the company in 2024. He has also performed with Ballet BC, Wen Wei Dance, Adam Linder Studio, Fran Diaz and Korzo Theater, among others.

As a choreographer, Paxton has created dozens of works for stage, film, and site-specific venues. In 2022, he studied choreography under Crystal Pite during her creation at The Royal Ballet. In 2023, he participated in the Pioneer Project hosted by Korzo Theater. Recently, Paxton has choreographed new works for GöteborgsOperans Danskompani (Sweden), Kammerballetten (Denmark), NDT Summer Intensive (Netherlands), Fabula Collective (UK),  Korzo Theater (Netherlands), Sonder Ensemble (Germany), Arts Umbrella Dance (Canada), HD Theatre (USA) Club Guy & Roni Spring Seminar (Netherlands), and Thorvaldsens Museum (Denmark). His work was a semi-finalist in the 2022 Rotterdam International Duet Choreography Competition. He was selected as an Aerowaves Twenty25 Artist for his work “Live! Not to be missed. Touring Regionally.”

Paxton now lives in London.

Artist Statement 

The offerings of the world of contemporary dance are wide and varied. I have thought deeply about what my voice contributes to the conversation. These are the things that together form my artistic identity.

I am invested in what is born from collaboration. The alchemical outcome of artists finding a path together. A shared wandering and discovery. When we have conversations, challenge each other, and create space for questioning, we are able to make things that are beyond what we could possibly imagine. Something greater than the sum of its parts.

Play and joy are vital to my process. Even if the outcome has gravity, the creation of it does not require undue conflict or angst for those involved. Everyone in the room should be consenting to the part they play in forming the work. We play through improvisation and exploration. We connect to silliness, rigour, and laughter.

I have studied and taken lessons from the world of scriptwriting. I want to weave worlds and characters. There should be an arc and plot points. We should finish in a different place than we started. Whether through abstract movement or spoken dialogue, we can trust the audience to interpret complex explorations.

My work is conceptual. I always start a creation with a seed of an idea held in my hand. A “what if” that I can toss up in the air and see where it lands. We try to peer at it from every angle and see it in every light, conducting thorough research on that idea. Not every version of the idea makes it to the final creation, but the discussions that arise during the process always enrich and inform what is made.

Photos by Shinji Otani, Matthew Foley, Loes Schakenbos, Sjoerd Derine, and Polina Mirovskaya