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 sketches and notes, usually outside. I look for vivid textures, discarded or forgotten artefacts, resurgent memories and sounds that provoke movement.
There is an intimacy and poetry in the ways we relate to our ecologies, be they urban or rural. Objects and organisms, as much as people, transform constantly and often share a physical language. In their precision and accumulation, these connections are often both intricate and ambiguous. My role as a dance maker is to invite others to find resonance in these ephemeral spaces.
I live on the unceded Indigenous lands and waters of Tiohtià:ke, also known as Montréal: a meeting place which the Kanien’kehá:ka Nation has protected and where so many nations and cultures dance.
I grew up between Massachusetts, USA and Nice, France and studied contemporary dance and sociology at Concordia University. Often at the intersection of social, scientific, and artistic movement, my work has been shown in Canada and abroad. I have also collaborated and performed with the interdisciplinary collective Daughter Product, artist-duo Sarah Wendt and Pascal Dufaux, Nickle Peace-Williams, Chloe Hart, Catherine Chun Hua Dong, and the collective As They Strike, among others. I am co-founder of the creative development non-profit for artists Nous Sommes L’Été and project coordinator for Mouvement Perpétuel (Marlene Millar and Philip Szporer) and Concordia University’s Performing Arts Research Cluster (Angélique Willkie and Eldad Tsabary). My practice continues to grow through conversations with artistic advisor Bailey Eng, and in ecologically-oriented residencies.