“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 communication through the lens of artistic practice, I enable fractions of my own self to acknowledge and validate one another. By doing so, I often affect a kind of intimate undercurrent in my audience.
Introspective growth machine. Potty mouth. Sociocultural geek. Purveyor of the sharing violation. Inflexible circus aerialist. Cat butler. Sarcasm aficionado. Recovered codependent serial-monogamist. Transformation enabler. Shadow worker. Badass thrill-seeking homebody. Autumn lover. Impotent rage expert. Cockhound. Beach Bum. More interested in the truth of life than in comfort. Unfinished.
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I grew up in Sacramento, CA, testing out of high school freshman year to enter the fast food workforce at age 15. I was a fixture of the hacking community in the mid 90’s, a bean counter for the dawn of the modern internet, and directed operations of a retail computer store at age 17.
I first began selling my artwork as a freelance web designer beginning in 1995, explored self photography as I ran one of the first webcams online, and spent most of my adolescent social time on what used to be the fringes of society; USEnet and IRC.
In 1998, I moved to Seattle to work in software development at Microsoft, transitioning client-based chat service networks to what would eventually become our modern web-based social media. In 2001 I was working in cellular on a feature-rich Smartskin phone handset with Wildseed, LTD.
Frustrated by the industries direction and my lack of influence upon it, by 2003 I’d all but left technology in disgust, and had begun to piece together the first scaffoldings of what has become this strange little patchwork life.
By the time I’d hit my 20’s I had become entrenched in a constant loop of incredible stress and self neglect, actively going out of my way to drown out how deeply I and those around me were abusing ourselves. As part of what became an impressively multifaceted recovery from that life, I sought out massage. The experience stayed with me, profoundly altering my course.
My own relationship with Complex PTSD, unresolved grief and severe suicidal depression informed the development of my practice to include emotional and neurological awareness in conjunction with movement and manual massage therapies. 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, I relocated at least for a while to Tacoma, WA, and in 2020, COVID-19 finally finished my bodywork career off for good.
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. In the future, I would like to explore the intensity and collaboration of theater again.
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