My current research is into modes of being-in-time and movement practices that have potential to usurp or undermine capitalist and corporate structures. I'm interested in how absurdities and surprising combinations might bring to light dynamics of power, pleasure and performativity in our systems. 


I am also engaged in eco-somatics, and contemporary approaches to early 20th century Duncan technique. I see these as 'anti-alienation' practices - immersions into the world around us, which Antonio Negri called the ‘first step to anti-capitalist art’. 

Friendship and collaboration are also central to my work. 


BRED An office as participatory installation, created in partial fulfillment of my MFA research at Trinity Laban. Questioning productivity, power, and value through bread dough and movement. 

BRED Logo version
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Wave breath/earth body. This evolving practice uses Duncan principles (but not choreography or shapes) to be-with the more-than-human world. I am attempting to work with the core of this early 20th century technique, to remove attachments to the personality + following of the originator in order to liberate something more wild about the work and allow it to be an alive thing. To do away with the preservation project. It feels like an anti-alienation score. You might say it's 'somaticizing Duncan' and perhaps this might also point to a path to decolonizing that work. 

Well Preserved Women
(working title) is a collaboration with sculptor Nina Gerada.  Is an interdisciplinary project using dance to make negative space sculptures of women’s bodies. Through repetitive movements clay is pushed around body parts. Sculptures are made between and around women’s bodies, they become a record of space once occupied; imprints of laps, breasts, shoulders, the negative space between two bodies. They are left outdoors to erode and weather away, calling to mind time, care, and hidden work like that we do as mothers. 

Artistic Update (recording of Zoom sharing)
is a piece of research into waiting, maintenance, patriarchy, corporate language and bread dough. The initial work leading to BRED. 

*drawing on Lisa Baraitser's Enduring Time, made with Florence Peake as part of MFA research.