My practice operates at the intersection of choreography, lighting design, and spatial installation, constructing environments in which movement is distributed across bodies, light, sound, and image. I compose space as an active system, where light functions as an architectural and temporal agent, and sound carries memory, vibration, and orientation.

I approach the body as the original myth, and an assemblage, a site in which temporalities, materials, and forces accumulate and reorganize; and motion as an ongoing practice of being in transit rather than the production of fixed form. Light, sound, image, and architecture operate as active participants within this process, continuously reorganizing perception and relationality, to merely underline them. 

 

This approach reflects my broader investment in composition as a phenomenological practice of re-assemblage, of re-membering, of re-.

My work does not seek to produce static images or monumental forms that ask the viewer to stop and consume them from a distance. Instead, I approach choreography and spatial installation as practices that keep movement active: movement of attention, sensation, orientation, relation, and thought. To remain in motion is not only a physical condition, but a way of resisting closure, rigidity, and the normalization of disconnection.

Within this approach, I think through fascia as both material system and metaphor: a connective structure whose health depends on elasticity, circulation, responsiveness, and continual movement. I imagine fascia almost as a myth, offering a way to think about societal tensegrity, the interdependence of bodies, relations, and structures that can either sustain movement or produce conditions for communal atrophy.

 

My earlier works engaged with displacement and restricted mobility, examining bodies whose capacity to move is regulated or withdrawn. Drawing from improvisation, quantum field theory, and Édouard Glissant’s concept of errantry, I situate movement not as an expressive choice but as a fundamental condition of matter itself, where apparent stability is produced through continuous fluctuation. My current work extends this inquiry toward contemporary regimes of erasure shaped by technological systems and image/spectacle economies. Rather than opposing technological development, I am concerned with how these systems recalibrate perception, relation, and desire, often privileging simulation, control, and predictability over embodied experience, criticality and wonder.

 

I return to myth, to archaic knowledge, to the body as a site of memory. Not as nostalgia, but as continuity. Myth becomes important here not as storytelling, but as a structure through which collective fears, desires, and archetypal relations continue to circulate within contemporary life. Nothing begins from zero, but everything accumulates. 

 

 

My works intend to take the form of immersive performance-installations that position space as a perceptual and relational field rather than a fixed container for choreography. Drawing from myth as a psychic and cultural structure, informed by phenomenology and psychoanalytic approaches to symbolic experience, I am interested in how bodies orient themselves within states of transition, uncertainty, and transformation. 

 

 

Across these works, Utilizing video, lighting and sound design, the ephemeral monuments/ installations built are in practice of creating responsive sensory environments. Researching platforms such as TouchDesigner, Isadora, I construct spaces that do not stabilize experience but sustain conditions of reorientation, where images behave atmospherically and temporally.

 

 

I construct these works to sustain spaces in which instability can be inhabited rather than resolved, and where remaining in motion, perceptually, physically, and relationally, becomes both an artistic and ethical practice. I am increasingly concerned with the ways contemporary social, political, and technological systems condition immobility: restricting the body’s capacity to move, adapt, and remain open to encounter. Stagnation accumulates materially and psychically. Bodies harden, perception narrows, and forms of social erasure emerge through this enforced stillness. I make these works as a way to sustain wonder, and to practice staying in motion.