My practice is grounded in creative collaboration and in the search for new ways of connecting. I work with others as active contributors to the process, inviting them to engage with and transform the material I introduce, while remaining open to the ideas that emerge in response. I am continually interested in the dynamics of collaborative research, the relationships, negotiations and exchanges that shape it, and how these interactions influence both process and outcome. Taking time to listen, reflect and critically engage, both individually and collectively, is central to my work. Collaboration allows me to recognise, question and challenge my own habitual ways of thinking and making.

​

My process often begins with the establishment of structural and spatial parameters. Working with the moving body, I develop systems through devised scores, sets of instructions informed by imagery, text, emotional states and abstract ideas. Within these frameworks, we construct and agree upon rules, while also creating space to disrupt and reconfigure them. I am drawn to the body’s permeability within these tasks, its capacity to adapt, resist and transform, and to the drama inherent in its materiality. It is frequently through this interplay that a sense of narrative begins to emerge.

​

I work with creative triggers, using structured improvisation alongside the sharing of my own movement material. I am interested in how conceptual and physical responses can be synthesised, and in creating conditions where speculation, play and critical inquiry can coexist. By setting both internal and external frameworks, I aim to generate multiple possibilities and allow ideas to branch in different directions. This multi-directional, or multi-pivot, approach is central to my practice, followed by a period of reflection in which connections and patterns begin to surface.

​

My work is informed by an interest in dynamic structures, living systems and chaos theory. Ideas such as sensitivity to initial conditions, strange attractors, repetition and self-organisation resonate strongly within my choreographic thinking. I am particularly drawn to the suggestion that apparent randomness can contain underlying order, and that disruption, whether accidental or intentional, can act as a catalyst for transformation. These principles inform both the structure and the unfolding of my work.

​

The legacy of Judson Dance Theater also continues to influence my practice, particularly its non-hierarchical ethos and its questioning of authorship, form and the boundaries between art and life. These ideas underpin my approach to collaboration and composition.

​

As a female artist who has grown up between cultures, I am deeply interested in perspective, in empathy, receptivity and the acknowledgement of multiple viewpoints. I am curious about how our conditioning shapes perception, and whether objectivity is ever truly possible. This extends into my choreographic practice, particularly in relation to embodiment, how movement is transmitted between bodies, and how it is received, altered or resisted. I am interested in the tensions that can arise, moments of disconnection, negotiation or transformation, and in what these reveal about identity, authorship and integrity. Perhaps the task is not to resolve these tensions, but to remain within them, continually negotiating towards a shared, intersubjective understanding.

​​​​

​