I consider that each of our gestures, every movement of the body, no matter how necessary, above all reflects a struggle, a battle. We move our bodies and constantly adjust our movements in response to what arises in a particular context and out of a desire to survive. Even the most trivial or gentle gestures are part of dynamics of confrontation, driven primarily by the unexpected, surprise, the unforeseen, which compels us to improvise in turn, to decide in the moment on an appropriate response, without any guarantee of success.

I place my performances in contexts where the body encounters various forms of resistance: physical, psychological, social, or political. I intervene both in public spaces, governed by their norms, directives, and tensions, and in domestic spaces where other tensions come into play.

Weight, burden, force, pressure, discomfort, stiffness, vertigo, exhaustion, phobias, and shame are all physical, emotional, or psychological constraints that, through my responses, allow me to reveal the fundamental conflict between balance and collapse.

Humor, especially the absurd, is another aspect of my work. I do not seek only to make people laugh but to create an emotional breach, an unexpected welcoming space. I use humor as a trigger to defuse tension, establish trust, and weave a sensitive contract between the audience, the space, and myself, through which we can navigate together the unpredictable and shared vulnerability.

I extend my performative gesture into installation, where the space becomes a battlefield, a crime scene, a conflict zone, a theater of operations, a place where the unexpected continues to unfold again and again. The elements that constitute the installation are remnants, witnesses, traces of an ongoing confrontation, taking on a new form.