My artistic practice begins with the body as an emotionally and symbolically charged space. I approach it as a living archive: a site where memory, identity, interpersonal relations and processes of transformation are held, revealed and rewritten. The body carries experience before it becomes language, and movement allows that experience to appear without reducing it to explanation.
My movement language is informed by improvisational practice, Butoh, body–mind work inspired by Jerzy Grotowski and live performance. These fields allow me to work at the threshold between control and surrender, form and impulse, action and representation. I am drawn to the moment in which a physical action stops functioning as an image and becomes an event—something lived by the performer and encountered directly by the audience.
Relationships are central to this research. I examine how one body responds to another, how presence can create intimacy or distance, and how personal material becomes collective experience. The performer is not asked simply to execute choreography, but to enter a process of attention in which sensation, memory and imagination can reorganise the movement from within.
For me, choreography is therefore a practice of transformation. It creates structures, but it also protects the possibility of change inside those structures. Whether I work through performance, teaching or the development of SHINUA, I seek conditions in which movement can function as research: a way of questioning what the body remembers, how identity is formed and how lived experience can be translated without losing its complexity.