I am an independant dance artist based between Paris and London.

I hold a degree in French Litterature completed at the Sorbonne University (Paris) and graduated from the BA in Contemporary Dance at Trinity Laban in 2013.

In Paris I am mainly involved with the Clef de Sole assocation, based on the Flexible Barres technique devised by Wilfride Piollet. Alongside her husband Jean Guizerix, I am working on the organisation and sharing of their archives.

I am currently completing an MA taking place in partnership between Trinity Laban and Independant Dance, which I choose to focus on the possible developments of the Flexible Barres.

In my own practice, I often work collaboratively and perform in a range of projects including site specific and gallery performances, as well as writing, film-making and visual arts.

Facts/thoughts in loose :

After some performances, I am encouraged by several persons,
amongst who Jean Francois Riaux, lecturer in philosophy, to pursue in dance. 

“I am keen on the expression of sensitivity in different shape and form, in arts and more particularly in dance. I want to be moved.
Sensations and poetry hold an important place in what I like and do”.

I studied Piano with Joel Gauvrit for 10 years, until 2008.

Training:
– Ballet training from a young age
– ACCD Montreuil (2008/2009)
– Boulogne-Billancourt Conservatoire (2009/2010)
– BA(Hons) Contemporary Dance : Laban Center (2010/2013)
Release, Graham, Cunningham, Ballet, Contact,
Choreography, Choreological Studies, Scenography.
Performing for Bernadette Iglich, Rahel Vonmoos, Lizzi Kew Ross, Zoi Dimitriou.
Laban re-creation of The Living Temple with V.Preston-Dunlop and M.Clarke

Besides the curriculum at Laban, she collaborated with several visual artists such as Irena and Edward Hill from the Made in Greenwich gallery, John Watts, Sarah Carpenter and Laurence Wildman (photographers), and the painters/drawers Sally Mckay and Vanessa Luther-Smith.

“In dance, the mind and body in movement are for me inseparable and indispensable. Studying at Laban allowed me to develop this practice; the training being organised around this fragile equilibrium.”

 

“I am sensitive to the connections between different art forms and artists and
therefore do not consider dance isolated from artistic practices.
            Klein – Khan – Kandinsky
Yaseen Khan has been a determinant encounter from
when I met him in Saint-Germain des Près in Paris in 2003.”