My choreography constantly reevaluates the associative relations between content, form and time.The movement vocabulary is the key to understanding the characters and their internal intricacies and relationships. It deconstructs the movement into its smallest components and in so doing, reveals the characters fragile reality.
The composition depicts a fragmented, enigmatic narrative allowing the viewer to enter a dreamlike space of personal images and fractured world.

The static positions are charged with hidden, potential movement. They contain the tension of chained energy that is likely to explode at any moment.
The form of the positions is analogous to or suggestive of familiar movement gestures.
For the most part, the pause comes midway, freezing a moment before the fall, in an interim state of agitation or imbalance.

In my work, I seek ways to arouse the viewer to an active, reflective experience in which boundaries are blurred. Boundaries between inner and outer reality, beauty and ugliness, moral and immoral interweave, provoking both uneasiness and interest. The absurd and necessary situations I explore are found at the precise meeting point between real and artificial, light and serious, hidden and revealed.
This process is at the centre of my quest for the total artistic intent.