My path has been built on back-and-forth movements between acrobatic exploration and theoretical research. My tools: circus and text. 

My compasses: social sciences and pedagogy. 

Step by step, I have worked to weave connections between these different dimensions — to create my own scenic language and its singular relationship with audiences.

Performer, creator, pedagogue — these positions are, for me, inseparable. They all converge toward a single question: what happens when circus — popular, accessible, joyful — becomes the starting point for collectively questioning the ways we function, alone or together?