Initially trained in music, as a child, at the Conservatory of Paris, I began my artistic career through song and composition. After moving to Montréal, studying and completing the program at the École de danse contemporaine de Montréal, I then danced for choreographers such as George Stamos, Damien Jalet and Benoit Lachambre. Having now become a choreographer, starting with collaborations and now signing the pieces on my own, I’m most interesting in exploring the codes that travel in and across various art forms.
I am in a constant dialogue with the other mediums that constitute the work I am making now, and this excites me. This was the case, for example, with my dance When Even The beside one of Marc Quinn’s imposing lead sculptures, the aptly named Coaxial Plank Density where I sought to question the existential void in a ritual dance which examined the porosity between life and death.
My practice in movement gives equal consideration to both space and sound, with the goal of encouraging the awakening of the sensorial perceptions of the audience, giving them emotive immediacy, direct access.
I’m guided by the belief that beauty might appear after a long arduous process. Not beauty that appears out of nowhere, but beauty that is already there, under the layers
I often work in minimalist set-ups that can foster intimate atmospheres and invite us to take a contemplative posture. I want to leave room for the creative mind of the spectator. Sometimes a deep feeling of emptiness arises in my work or rather an investigation around the concept of emptiness and all the links and dynamics that it is filled with. The void becomes a conveyor of possibilities and allows all form of communication to coexist.
Ultimately – in between the lines of space and sound, I create pieces that are at once literal and abstract in which audiences can assemble their own elements, understand what they need to understand as they see fit. It is in abstract dense poetic fragments and their ability to compress story that I often find inspiration to begin a new work. Moving through improvisations and a constant reconsideration of the most basic gestures, my performances often employ duration and repetition of ritualised movements. I take great care not to take this for granted. Because these movements always come loaded with a constantly changing mix of both meaning and non-meaning.
I’m interested in what you could call “existential dance experiments” where I can explore states of being, where we can explore mystical interior landscapes and attempt to locate radiance within the enveloping darkness.
My work is porous now – porous in the choreographic offerings I propose, porous in what the performers exude, a porosity I hope can be seen and felt in the energetic exchange between us all.