I am a Dublin-based choreographer and dance artist working across performance, film and collaborative research processes. My practice is grounded in collaborative, process-led making, and in the creation of spatial, conceptual and emotional structures that invite performers into a shared process of manifestation. I work with systems, scores and tasks built from imagery, text and abstract ideas, allowing movement, relationships and meaning to emerge collectively rather than being pre-determined.

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I am currently developing a new work, Who Calls the Wind, Silvers the Wave and Lulls the Manchild to Sleep?, a “play for dancers” in dialogue with a text by Marina Carr, one of Ireland’s most significant contemporary playwrights whose work has been widely translated and presented internationally.

The project centres on Mnemosyne, goddess of memory and the mother of the muses, who reconstructs the lives of the women in her lineage. An actor carries the text, shifting between characters and perspectives, while four dancers operate as parallel narrative agents, embodying emotional landscapes and inherited states rather than illustrating the text directly. (Concept & Marina Carr's Script >>)

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The work sits between theatre and dance, where language and movement are held in tension. I am interested in how narrative emerges through structure rather than illustration, and how performers negotiate presence across text, image and physical states. The theatrical language incorporates the live construction of scenography, the use of projection, and elemental materials such as water as both symbolic and physical presence.
2025 Phase 1 development >> (photographs taken on the bank of the Scheldt by Belgian photographer Philippe Mathys)

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A key aspect of the project is its potential to travel across contexts. Given Marina Carr’s international reach, I am interested in working with actors who can perform the text in the language of the country in which the work is presented. This raises artistic questions around translation, voice and embodiment, how meaning shifts between languages, and how the relationship between text and movement adapts within different cultural frameworks.

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This residency would support a focused period of development as the work moves into its next phase, with particular attention to refining the relationship between voice, body, language and compositional structure, and preparing the work towards production. To date, five of the nine monologues in English have been developed through earlier research phases. This next stage of development will expand the work to encompass all nine monologues, moving the piece towards a complete performance structure in preparation for production.

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The project is currently being developed with a core group of collaborators across dance, theatre, music and visual media. Dance artists involved in the research and development process include Axelle Sechao, Boris Charrion, Nana-Yaa Appiah and Noah Meteau. The work also involves actor Hilda Fay, whose role is central to carrying the text, and co-director Gea Gojak. Visual and scenographic elements are being developed in collaboration with new media artist Róisín Berg, and the musical world of the piece includes original compositions by Martin Gretschmann, also known as Acid Pauli. The structure of the team remains flexible, allowing for different constellations of performers and collaborators to enter the process at different stages.

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I am seeking a residency period of approximately 10 to 14 days, ideally between March and June 2027. I would require a studio space suitable for physical and vocal exploration for up to six performers, along with basic technical access, including sound playback and simple projection if available. Accommodation would be required for myself, and ideally for up to five collaborators, however the residency could also function with accommodation for myself alone if necessary.

Brussels holds a significant place in my development as an artist. In the early 1990s, I lived and worked in Belgium, initially in Charleroi (Charleroi Danse and Plan K), and later in Brussels and Antwerp, during a period when Belgium was at the cultural forefront of emerging electronic music and performance cultures. After a conventional dance contract, I moved into performance environments beyond formal dance structures, rooted in collectivity, rhythm and experimentation, which profoundly shaped my artistic practice.

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Those experiences were formative. They shaped my understanding of performance as something that exists between disciplines, and between art and life. I developed close connections there and experienced a strong sense of belonging that extended beyond a purely professional context.

Returning to Brussels now, with a more established practice, feels like a meaningful continuation of that trajectory, an opportunity to reconnect with a context that originally expanded my sense of what an artistic practice could be, and to bring that experience into dialogue with my current work.

Artist Statement >>

CV >>