The origin of my journey into movement arts traces back to the age of 17, when I first became curios to the possibilities of the human body in space. I was inspired by the interplay between imagination and physicality—the ability to envision a direction, define an orientation, and transform it into tangible action. This initial interest set me on a path to explore the connection between movement and intention.

Acrobatics somehow became the ideal medium for this exploration, leading me to formal studies at Circomedia (2010–2012) and ACAPA: Fontys Academy of Circus and Performance Arts (2012–2016). Here, I specialized in physical theatre, acrobatic dance, and a hybrid form of partnering that combined contemporary dance with acrobatics. My time in the circus arts was supported by an ever-deepening engagement with improvisational dance, which offered a nuanced framework for refining and expanding my understanding of movement.

My professional career began with Alexander Vantournhout Red Haired Men (2017-2018), where I contributed as both a performer and movement researcher. This experience opened doors to collaborations with companies, including Backsteinhausproduktion, how to sell a murder house (2017), Jasmine Ellis, Suzan’s Lonely (2020), Miet Warlop’s Springville (2023), and Yoann Bourgeois (2022–2024). And currently I am engaged with Fernando Melo and Kalle Nio’s piece Tempo 2025–2026.

A particularly meaningful connection developed with Yoann Bourgeois, where I moved beyond performance to assist in choreographic processes. Notable collaborations include Gothenburg Opera, We Loved Each Other So Much (2023-2024) and Requiem Mozart. These experiences deepened my understanding of the creative process and further shaped my engagement as both a performer and a movement researcher.

Alongside my performative work, I developed a teaching methodology rooted in the desire to share my research and engage others in a multidisciplinary dialogue. Teaching became a collaborative act, a way to test and refine ideas within diverse practices. This led me to join ferus animi // terra nova, a movement research collective dedicated to bridging scientific and artistic disciplines, such as neuroscience, evolutionary physiology, biomechanics, and philosophy, into an accessible and relevant framework.

Through the interconnected worlds of performance, teaching, and research, I have found myself in a liminal space—an ever-evolving terrain that grounds my connection to the art of movement. This fusion of disciplines provides not only a means of expression but also a profound investment in the adventure and evolution of the movement artist.