My work presents a multiple and fractured aesthetic through an intricately crafted movement vocabulary, creating structures that collide and intercept with each other.

My early work reflects the strong research element that I felt necessary in order to establish a direction for my choreographic practice. My initial focus was on developing a movement vocabulary that was not bound by any superimposed structure, like a set piece of music or a traditional performance space. I worked on developing a vocabulary and structure simultaneously, finding structural solutions that gave the movement its intricate, weaving quality (Moving Sculpture). During an intensive research phase funded by Chisenhale Dance Space in 2005, I attempted to open this structure up to allow the dancers to engage with it in a more improvised format. The result was less successful than the original piece, however this notion of playing with my control on the development of the work remains an area of interest for me today. As a result of this process, these earlier works were intended for performance in non-dance spaces, where there is no prescribed view point or time frame for the viewer’s perspective.

Whilst different collaborations enabled me to develop this installation format into a number of pieces, I became aware that all of this work belonged to my original interest in developing movement through structure and structure through movement. “Moving Sculpture” became the genre title of all of these pieces which maintained a continuous dynamic creating a meditative, kaleidoscopic effect. Feeling restricted by the limitations of this work, and wanting to explore new avenues, I re-entered London Contemporary Dance School as a post-graduate student in 2007.

Elliptic (2007) clearly elaborates on the sustained dynamic and gradual development of an intricate vocabulary that is evident in my earlier work. However, QUaRteT (2008) attempted to interrupt the continuous flow of movement through its fractured aesthetic, giving the work a more restless and agitated feel. This work was also a substantial shift for me since it was created specifically for the theatre and involved an elaborate set and lighting features. My exposure to Sue Maclennan’s work with projection in performance led to my own research in this field that resulted in TriAd (2009). This use of simultaneous projection in performance further developed my interest in dividing and re-configuring space and created a dialogue between the live dancer and their projected counterpart.

My ongoing work continues to explore these themes of broken and layered spaces and movement, whilst returning to my earlier concern with open and closed structures. My current work questions and plays with the degree of my control over the development and performance of the work, drawing from the use of indeterminacy as structure in musical composition.

For more information on any of the work discussed here please refer to the Previous Work section of this website, where you can select pieces and watch video clips. For more information on forthcoming performances please select the Blog link on this website.