h o m e .

Sallie Merkel goes by “Merkel,” a name she inherited from her con-artist grandfather, who was adopted by some Merkels. Like her grandfather, Sallie pretends to be other people. Possibly unlike her grandfather, she tries—by pretending to be other people—to express and interrogate truths of the human condition that words or images alone cannot express. The truths she is interested in are living truths; in other words truths that must be embodied and voiced, truths that are multivalent and unfixed. In her own unfixed-ness (as an actor), Sallie seeks to stretch her empathy to its limits.

She enjoys séances and other modes of non-traditional listening to and performance of forgotten, marginalized or silenced stories. 

Perhaps because she was a competitive jump-roper as a child (instead of a soccer or field-hockey player), Sallie is drawn to work that is formally experimental. The form itself is less important to her than the challenging of the form: she has found this experimentation in the world of avant-garde theater, in a lo-fi nail art tutorial turned sci-fi existential mystery web series (Dandy Nails with Sandy), in her crush-worthy improv group GiRL CRUSH, and she would love to be a part of say, a formally experimental sit-com, soap opera or period drama!

Finally, Sallie is an actor because she possesses a strong emotional response to costume and world-view—that is fashion and philosophy—that no other outlet can satisfy.