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 Institute in Poland, and studied with master clown teacher Philippe Gaulier in 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.

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.

deconstruction - I approach my material as something to be broken open rather than reproduced — whether working with mythological texts, social constructs, or the conventions of theatrical form itself. Reassembled on stage into something more honest, more volatile, more alive.

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.