Artistic practice

My movement research is based on structured improvisation, instant composition and the correlation between sensation and physicality. Movement is not fixed but defined in each moment. The dancers decide about the creation of movement as well as its composition in space and time. Acting between polar priorities of intuition and composition, the individual is being revealed through their decision-making. This demands an alert state of presence and play, which becomes visible on stage and serves as a basis for my work.

In the correlation between sensation and physicality I am looking for a state of ‚not-knowing’. Over-stimulation of the senses often results in physical de-sensitising and the repetition of habitual movement patterns. In my work, movement is created as a direct response to sensory experience and thus informed by individual sensibilities. How can we truly meet and react in the moment? What boundaries, both personal and social, are necessary to fall? We search for the most personal in order to point towards what is shared. I like to define the studio and stage as a place of practice to question existing frames and risk looking beyond the known.

Current research interest

Risk-taking, curiosity and playfulness define a highly physical, raw and intimate movement vocabulary that is negotiated in direct relation to the audience. Collaborating across disciplines, I investigate the relationship between the audience and the moving body. Looking at the public gaze and codes of seeing within different contexts of space, I stage my work in the theatre as well as site-specific in the museum, outdoors or in the public space. Exposure and boundaries of intimacy and physicality are being negotiated in close proximity to an audience.

We are advocates for diversity and inclusion. We aim to create access for all sections of the community, anchoring access as a creative element within the work and developing shared spaces of learning.