This article examines the life and work of Canadian choreographer and performer Margie Gillis, identifying her as an integrated artist and considering her work through perspectives from artists, cognitive scientists, Tibetan Buddhists, and individuals in the medical field who have explored the concept of nonlocality. The essay examines Gillis’s ability to create strong connections between the audience and herself as performer, and posits that this bond results from Gillis’s strongly communicated visual, physical, intellectual, spiritual, and emotional aspects. The artists interviewed and referenced in this paper are Irene Dowd, Risa Steinberg, and, predominantly, Margie Gillis.