Artistic Practice
Choreography as a way of making attention tangible.
Choreography as a way of making attention tangible.
My work begins where movement becomes slightly misplaced—where gestures hesitate, rhythms drift, and bodies quietly slip beyond what is expected of them. I am interested in the eccentric body: not as spectacle or caricature, but as a way of existing that unsettles familiarity. It is a body that wanders sideways, forgets itself, becomes absorbed in impossible tasks, and discovers unexpected ways of being with others.
My work begins where movement becomes slightly misplaced—where gestures hesitate, rhythms drift, and bodies quietly slip beyond what is expected of them. I am interested in the eccentric body: not as spectacle or caricature, but as a way of existing that unsettles familiarity. It is a body that wanders sideways, forgets itself, becomes absorbed in impossible tasks, and discovers unexpected ways of being with others.
There is often something clown-like in my work—not through performance conventions, but through a willingness to remain vulnerable, playful, awkward, and profoundly human. Humour emerges gently from failure, repetition, curiosity, and the absurd. It allows the body to escape perfection and invites another kind of intelligence to appear—one that listens before it performs, hesitates before it decides, and imagines before it explains.
There is often something clown-like in my work—not through performance conventions, but through a willingness to remain vulnerable, playful, awkward, and profoundly human. Humour emerges gently from failure, repetition, curiosity, and the absurd. It allows the body to escape perfection and invites another kind of intelligence to appear—one that listens before it performs, hesitates before it decides, and imagines before it explains.
My performances move between choreography, installation, and live encounter. They rarely seek fixed representation. Instead, they construct fleeting environments where figures emerge and dissolve, where history brushes against speculative futures, and where bodies are continually reshaped through attention, relation, and imagination. I am interested in choreography not as the organisation of movement, but as the composition of attention: an ecology in which movement arises as attention drifts across multiple bodily sites, materials, memories, and atmospheres.
My performances move between choreography, installation, and live encounter. They rarely seek fixed representation. Instead, they construct fleeting environments where figures emerge and dissolve, where history brushes against speculative futures, and where bodies are continually reshaped through attention, relation, and imagination. I am interested in choreography not as the organisation of movement, but as the composition of attention: an ecology in which movement arises as attention drifts across multiple bodily sites, materials, memories, and atmospheres.
The body I work with is never singular or stable. It carries traces of inherited gestures, forgotten histories, cultural archives, and imagined futures. Rather than reinforcing dominant images of identity, I seek choreographic figures that remain porous—where gender, heritage, race, and difference are not erased, but are released from the demand to constantly represent themselves. Identity becomes something that moves rather than something that is fixed.
The body I work with is never singular or stable. It carries traces of inherited gestures, forgotten histories, cultural archives, and imagined futures. Rather than reinforcing dominant images of identity, I seek choreographic figures that remain porous—where gender, heritage, race, and difference are not erased, but are released from the demand to constantly represent themselves. Identity becomes something that moves rather than something that is fixed.
Play is central to this practice. The whimsical, the poetic, the eccentric, and the absurd become methods for imagining other possibilities of being together. Small gestures, ordinary objects, and quiet acts of deviation begin to reorganise perception, allowing different relationships between bodies, materials, and environments to emerge.
Play is central to this practice. The whimsical, the poetic, the eccentric, and the absurd become methods for imagining other possibilities of being together. Small gestures, ordinary objects, and quiet acts of deviation begin to reorganise perception, allowing different relationships between bodies, materials, and environments to emerge.
Ultimately, I understand choreography as an act of cultivating attention. It is a practice of making space for what usually escapes notice—for gestures that almost disappear, for bodies that refuse easy recognition, and for encounters that remain open long enough for something unexpected to unfold.
Ultimately, I understand choreography as an act of cultivating attention. It is a practice of making space for what usually escapes notice—for gestures that almost disappear, for bodies that refuse easy recognition, and for encounters that remain open long enough for something unexpected to unfold.