I live on the unceded Indigenous lands and waters of Tiohtià:ke, commonly known as Montréal: a meeting place which the Kanien’kehá:ka Nation has protected and where so many nations and cultures dance.
The root of my dance practice is in observing, listening, and engaging with senses and surroundings. My choreographic process resembles a field study of sorts, with copious conversations, images, and field notes. Especially in the early stages of a project, I look for vivid physical textures, unusual relationships, enveloping sounds, and memories that provoke movement and sensation.
There is an intimacy and poetry in the ways we relate to our surroundings. Materials, objects and organisms, as much as people, carry compelling movements and often share a physical language. In their precision and accumulation, these connections form intricate and ambiguous social landscapes. My role as a dance maker is to invite others to belong in these ephemeral spaces.
I grew up between Boston, USA and Nice, France and studied contemporary dance and sociology at Concordia University. My work has been presented in Montréal’s Nuit Blanche, the Festival International du Film Ethnographique de Québec and Festival Vue sur la Relève, and with the interdisciplinary collective Daughter Product at ZH Festival, Wildside Festival, and the Camden People’s Theatre in London, England. I have danced for As They Strike Collective, Jenna Beaudoin, and recently Chloe Hart in Consequence(s) (Dance Matters, Toronto).
My practice grows in tandem with collaborators Nickle Peace-Williams, Bailey Eng and Darah Miah, and as an artist-in-residence in rural residencies including Ross Creek Centre for the Arts (Nova Scotia), PLAYA Summer Lake (Oregon), and the Centre d’Art Contemporani i Sostenibilitat (Spain). I’m also project coordinator for Mouvement Perpétuel (Marlene Millar and Philip Szporer) and Concordia University’s Performing Arts Research Cluster (Angélique Willkie), and co-founder of Nous Sommes L’Été dance creation laboratories.