“Courtnee Fallon Rex is an intensely expressive artist. It seems that she (sic) creates as she (sic) lives.” – The Nonsense Society
Though my styles, interests, and mediums constantly shift, it is consistent that in communicating through the lens of artistic practice, I enable fractions of my own self to acknowledge and validate one another.
By doing so publicly, I often affect a kind of intimate, stirring undercurrent in my audience.
I grew up in the suburbs and south country of Sacramento, CA, eventually leaving high school during my freshman year, GED in hand and ready to enter the fast food workforce at age 15.
I first began selling my artwork as a freelance web designer in 1995, exploring self photography as I ran one of the first webcams online. I was a social fixture of the hacking community in the mid 90’s, spending most of my adolescence on USEnet and IRC, when not directing operations of a retail computer store (or attending DEFCON).
In 1998, I escaped Sacramento to break software and run test labs in Seattle, transitioning client-based chat service networks to what would eventually become our modern web-based social media, and working a bit on burgeoning smartphones.
Frustrated by the industries direction and my lack of influence upon it, by 2003 I had begun to piece together the first scaffoldings of what has become this strange little patchwork life. I left the technology industry in pursuit of a more balanced relationship within myself and with others.
In the years that followed I explored art, music, writing, odd jobs, sex work, and pulling shots (both coffee and booze) as vocations.
Like many young people navigating compounded traumas, I had developed an impressive substance problem, cured by teen deathwish excess that had matured into the habit of actively going out of my way to drown out how profoundly I was abusing myself as an adult.
I first began to seek refuge from those coping mechanisms in the form of vigorous physical activity, taking up yoga, swimming, and circus. Through the encouragement of others who swore by the stuff, I eventually sought out massage reluctantly in my early 20’s.
It took me a while to find the right practitioner, but when I did, that one experience stayed with me, planting a seed that profoundly altered my course in life. It is from that single sensory experience facilitated and witnessed by a bodyworker I never saw again that I credit the first cracks and crumbles in the facade of my intense self destruction.
By 2007, I was divorced, a resident aerialist and ensemble troupe member at a Seattle underground theater, working full time administrating a medical office, and putting myself through massage school at night.
Once out of that frothing cycle of Y2K era tech, I’d also began to explore many forms of mental health therapies to address what grew to be a host of fancy diagnoses. I did deep psychotherapy, CPT, CBT, EMDR, a 10-day silent Vipassana retreat. I went through the Grief Recovery Method I now teach, participated in many family constellations, as well as maintaining my intangible outlets like circus aerial, painting, music, and theater.
All of these experiences eventually informed my desire to develop my healing practice to include emotional and neurological awareness in conjunction with manual massage therapies, narrowing my focus toward education and empowerment rather than applying passive remedy, expanding my work into Somatic Unwinding, Sound Healing, and Grief Recovery.
I closed my 8-year private Pioneer Square practice in 2014, succumbing finally to the inflation and gentrification that has plagued Seattle since.. about the time my white yuppie ass showed up. In 2018, after multiple years on the road, I settled for a time in Tacoma, WA. In 2020, COVID-19 finished off that iteration of my practice, which is currently dormant indefinitely.
As a bodyworker, I know that somatic wisdom deeply shapes the manner in which you experience your life, whether one is actively listening to it or not.
If you know this too, you also understand that as such, we can only get so far coping by intellectualizing in the mind, churning and thinking and philosophizing without doing the profound work of (re)learning how to actually hear yourself.
Circus was my gateway to reconciling communication with my alienated body, combining performance, emotional expression, mindfulness, exercise, and eventually teaching as well.
I’ve performed internationally as a freelance aerialist, including Seattle venues ACT theater, The Pink Door, and Seattle Center. I served as an ensemble troupe member for six years with The Little Red Studio, and four years as the board president, co-founder and creative director of Vita Arts, a 501(c)(3) arts non-profit, producing “The Obsidian Show” and “How Art Saved My Life”, respectively.
The feel of my theatrical work thus far has been based in darkness and reflection, yet is ultimately humorous and hopeful. My last fully produced and directed show was in 2011. In the future, I would like to explore the intensity and collaboration of theater again.
Music for me is a collection of audible self portraits.
I was active in the digital music revolution at the turn of the century, recording, mixing, and releasing independent electronic music online under the moniker “Not Applicable”, contributing to news articles, collaborating with signed as well as indy artists, and developing an international cult fanbase of a select few gen-x geeks and weirdos.
I was formerly noted as “One of MP3. com’s fastest rising electronic allstars”, and it’s been said of me that I “possess the unique ability to virtually freeze time with my moving, highly emotional ambient landscapes, combining dreamy tones with an unforgettably beautiful voice.”.
“I would like to be remembered as somebody who made the path a little easier for somebody behind me” – Heather Flemming