ARTISTIC PRACTICE & METHODOLOGY
PRACTICE STATEMENT
My practice treats the body as a site of research. Rather than using training simply as preparation for performance, I approach it as an ongoing laboratory in which action, presence and meaning are tested through the body’s relation to space, objects, other people and lived experience.
I create work through physical scores, energetic states, task-based structures and direct audience encounter. A core principle of my process is that action precedes interpretation: meaning is not explained first, but discovered through doing. This allows text, movement, object work and image to emerge from embodied investigation rather than illustration.
My work is shaped by transformation, labour, identity, ancestry and cultural memory, not only as themes, but as forces that organise rhythm, resistance, weight, impulse and attention. I am interested in work that remains rigorous but unfinished, precise but alive, and structured enough to hold complexity without closing it down.
TRAINING LINEAGE
&
APPROACH
My methodology draws from psychophysical training and laboratory theatre traditions, particularly Theatre Anthropology, while resisting the idea that inherited techniques should be treated as fixed or universal. Instead, I work with training principles as adaptable tools that must be tested against the specificity of my own body, history and sociocultural position.
Training has taught me to think through compositional materials such as plastiques, crossroads, actions of the hands and feet, throwing, segmentation, gaze work, reduction, energetic states and scored improvisation. These practices deepen coordination, presence, responsiveness, and the ability to create repeatable actions that still feel alive.
KEY METHODS
-
Psychophysical training
-
Devised performance methods
-
Performative lecture and direct address
-
Symbolic object work
-
Physical endurance and repetition
-
Embodied storytelling
-
Participatory and socially engaged practice
-
Motor Cycle Praxis: balance, weight and direction as performance principles
WHAT THE AUDIENCE ENCOUNTERS
My work invites audiences into a close relationship with the performer. I create work that feels immediate, human and physically alive , where the body does not illustrate an idea, but becomes the place where the idea is experienced.
RELATIONAL
PRACTICE
&
AUTHORSHIP
My recent laboratory work has sharpened my understanding of relation, permeability and authorship. I am increasingly interested in how performance is shaped not only by what I generate, but by what circulates through the room: breath, gaze, proximity, rhythm, resistance, permission and exchange.
This has complicated my instinct toward decisiveness and control in productive ways. I now understand clarity not only as assertion, but also as responsiveness. Softening, listening, and allowing the body to be altered by collaborators or spectators can generate a different kind of authority , one rooted in relation rather than command. This sits at the centre of my developing practice as both performer and producer.
CURRENT THEMES
Transformation
Identity
Labour
Endurance
Memory
Culture
Lineage
Collective reflection
