I’m an international performance maker from Australia based in Tallinn, Estonia, working across physical theatre, devised theatre, live art, contemporary performance making and clowning.
I originally trained as an actor at Actors Centre Australia (2012), building a foundation in classical and contemporary text-based performance and working across stage and screen in Australia and the United States. In 2022 I made a deliberate career shift, relocating to Paris to pursue a new artistic path in original performance making.
This shift toward contemporary performance making was not a departure from traditional theatre — it was a return to the body, and an expansion of what I believe theatre is. I went looking for new practices, new physical languages, new ways of making for myself, to push the boundaries of what traditional forms are capable of, and to find what lies beyond the obtainable.
The desire to interrupt and deconstruct inherited theatrical structures and rebuild them into something new — landscapes that could open a doorway into the imagination, into worlds that sit just beyond the reach of the everyday. And beneath that, a fundamental question about the nature of experience itself: what it means to experience, to be changed by it, and how performance can create the conditions for that to genuinely occur. I am not seeking to represent a state — but inhabite one. What happens to my body is actually happening. A body in genuine intensity, under genuine duress, existing in real time within a shared ecology of performer and audience, creates the same involuntary transmission as the greatest psychological drama. Not because it has been crafted to feel real, but because it is real. This is what I keep coming back to: the possibility of real states — work that does not portray experience but generates it, for the artist and the audience, simultaneously, in the same room.
About me
Artistic Practice
My practice is rooted in the body - as a site of memory, trauma, and the possibility of transformation.
Working across devising, physical training, ritual, and live encounter, I create work that moves between:
precision and instability
endurance and play
confrontation and tenderness
My practice has been shaped by intensive research and training with some of Europe’s most rigorous practitioners and companies. I have trained under Theodoros Terzopoulos at ATTIS Theatre in Athens, worked with Teatr ZAR at the Grotowski Institutein Poland, and studied with master clown teacher Philippe Gaulierin Paris. These encounters have shaped a hybrid performance language drawing together psychophysical training, clowning and bouffon, ritualistic practice, and a sustained attention to presence. My physical discipline was further deepened through intensive training in Shaolin Kung Fu with 34th generation Shaolin Warrior Monks in Chengdu, China — something that continues to inform the rigour and stillness of my work.
Central to my current practice is an investigation into:
male vulnerability
The inherited scripts of stoicism, suppression, and performative strength, and what it means to dismantle them. This extends into broader questions of how the body holds memory and trauma, and how ecstatic and ritual practices can access, expose, and transform what lies beneath. Water and ice have emerged as recurring materials in my work - elemental forces that evoke memory, physical endurance, and the threshold between control and collapse.
Deconstruction
I approach my material as something to be broken open rather than reproduced. This applies equally whether I am working with mythological texts, social constructs, the conventions of theatrical form itself, or the raw matter of personal experience. Nothing arrives on stage intact.
Influenced by practitioners like Theodoros Terzopoulos, I understand deconstruction not as an intellectual position but as a physical and dramaturgical act - a way of handling material until it gives up something it was not designed to surrender. Ancient myths are not retold; they are fractured until their subconscious logic becomes visible. Social and political structures are not illustrated; they are staged at the point where they begin to contradict themselves. Theatrical conventions are not broken for effect, but interrogated until what remains is only what is necessary and true. Personal material is not confessed; it is disassembled until it stops being autobiography and starts being something shared.
The goal is never deconstruction for its own sake. It is the moment after the shattering - when the fragments, held in tension with one another, generate something more volatile, more alive, and more honest than the original whole could ever have been. What gets reassembled on stage is not a reconstruction. It is a new composition, built from the energy released in the breaking.
Memory
Not as recollection but as something physiological - sediment that accumulates personally and collectively in the body, beneath conscious reach. Through sustained physical tasks, durational states, and ecstatic practice, my work tries to create conditions in which what is buried can surface - unbidden, unmediated, and alive.
Ecstatic
Ecstatic states are not sought for their own sake - they are a tool for accessing what sustained physical tasks, endurance, and ritual can loosen in the body: the sediment of personal and collective experience that lives beneath conscious reach. Drwaing from within the tradition of ecstatic prophecy, this threshold state as one in which the body, soul, and spirit are simultaneously overtaken - where the individual becomes, briefly, an instrument for something that cannot be arrived at through intention. The prophet, like the performer in extremis, does not manufacture revelation. They create the conditions for it to pass through. What interests me is that moment - when the performed gives way to the revealed, and the body stops demonstrating and starts disclosing.
At the heart of my practice is a belief that the stage — being any found location — is not only a place of expression, but of excavation and expansion: that in pushing the body beyond its conditioned limits, something essential can be revealed.
Foundational training
2025 - 27 Estonian Academy of Music and Theatre (EAMT) Master of Arts (Postgraduate) in Contemporary Physical PerformanceMaking (Tallinn, Estonia)
2026 - Punch drunk (Venice, Italy)
2026 - GUILLAUME PIGE (THEATRE RE) (Venice, Italy)
2026 - Rimmi Protocol (Imanuel Schipper) (Venice, Italy)
2026 - YORGOS KARAMALEGOS (PHYSICAL LAB) (Athens, Greece)
2026 - Marina Abromavich Institue (Karyes, Greece)
2026 - Young Boy Dance Group (Athens, Greece)
2025 - Troubleyn (Tallinn, Estonia)
2025 - Song of the Goat (Tallinn, Estonia)
2025 - Stacey Makishi (Tallinn, Estonia)
2025 - Tanztheater Wuppertal (Tallinn, Estonia)
2025 - Gecko (Tallinn, Estonia)
2025 - Jeremy Nedd (Tallinn, Estonia)
2025 - Mart Kangro (Tallinn, Estonia)
2025 - Peader Kirk (Tallinn, Estonia)
2024 - ATTIS THEATRE, 16th INTERNATIONAL WORKSHOP (Athens, Greece)
2024 - Fighting Monkey Workshop (Lisbon, Portugal)
2023 - THE WORK, 5 Day Dream Workshop with Amanda Lovejoy Street (Berlin, Germany)
2023 - Fighting Monkey Workshop (Lisbon, Portugal)
2023 - ATTIS THEATRE, 13th INTERNATIONAL WORKSHOP (Athens, Greece)
2023 - Teatr ZAR Session, The Grotowski Institute (Wroclaw, Poland)
2023 - Clown Workshop with Carlo Jacucci (London, England)
2022 - 23 - Ecole Philippe Gaulier, Winter & Autumn Course (Le Jeu, Neutral Mask, Masked Play, Melodrama, Bouffon, Character, Shakespeare & Chekhov, Clowns) (Paris, France)
2022 - École Internationale De Théâtre Jacques Lecoq (Paris, France)
2022 - Lisa Robertson ‘Advanced Scene Study’, On Going (Los Angeles, United States)
2021 - ‘Script Analysis and Emotional Core’ 5 wk Masterclass with Lisa Robertson (Sydney, Australia)
2018 - VIEWPOINTS, LABAN AND SUZUKI TRAINING with Tina Mitchell, Kelly Maurer and Shane Anthony (New York, United States)
2015 - Dream Workshop - Elizabeth Kemp (New York, United States)
2010 - 12 Advanced Diploma of Performing Arts (Acting) The Journey, Actors Centre Australia (2.5 yrs) (Sydney, Australia)