At the core of my work is always the commitment to acknowledge the group that gathers at a specific time and place to attend the art and to instigate a solid and profound explicit/implicit dialogue with it. Though I am trained in dance and love to make the muscles of my body and mind available for other choreographers, my own artistic utterances are not constricted to dance as a medium or a language. I am constantly looking for the most apt medium to manifest an urgent concern, a political-personal affair, taking the body in full consideration without taking it for granted. 

My choreographic work is not limited to the stage, or rather, it often installs a stage elsewhere.  I am obsessed with setting conditions, let it be physical, spacial and emotional, for an ultimate digestion of the material the piece proposes. 

The one-time events, participatory installations, performative conversations and dance pieces I choreograph respond to questions of production and productivity, following strands of thought that consider Performance as an ephemeral subversion of capitalist values. Most of the works I make are performed with altered iterations in relation to the particular context in which they are being made or shown, giving value to/augment moments and instants that leave a trace in one’s life and are documented through their memory. I see these creative manifestations as practices that redefine choreography and include emotions, memories, conversations, food and more into the intricate compositional work.  

The manifold expressions of feminisms are key influence for me. Learning a lineage of women makers inspired me to situate my work on the crossroad between the political and the personal and to anchor it in friendships and relationships. I often work within collectives, either steady and long-term, like fxtrouble, or temporary collectives that form according to necessity and opportunity - for example for the cabaret project  “Across the Middle, Past the East” (Sophiensaele Berlin, January 2018), made with a collective of female identified artists with Middle-Eastern background. 

I think of the art community in Berlin as a fluctuating group of people sharing spaces, interests, concerns and resources with which I engage on a steady base. As a citizen of the international art community I carry with me qualities and values and exchange them wherever I travel. My mission is in constant recalibration, yet the intention stays put: seizing the full potential of artistic practices among temporary communities and harnessing them as a vibrating force into society.