When I first arrived in Australia, I felt like I was living in translation - not just between languages, but between versions of myself. I was learning new streets, new systems, new cultural rhythms, while also learning where my body fit in a room full of artists whose references, humour, and histories were not the ones I carried. My WAAPA training began inside this disorientation. In many ways, the work I made over these years became a map of how I learned to belong, to listen, and to create from the places where uncertainty lives.

My first major piece, Främling / Stranger (2024), emerged from that sense of in-between. A solo performance exploring identity, movement, language, and the feeling of being a stranger in multiple worlds, the work taught me what it means to let the body speak first. Through improvisation, multilingual play, and the physical vocabulary I brought with me from Calle Flygare and my dance-theatre background, I discovered what Nigel Charnock describes as “truth at the edge of chaos.” This piece grounded me in WAAPA’s principle of encountering new knowledges: phenomenology, postdramatic form, and embodied dramaturgy became tools to articulate the questions I was living. It reminded me of a mantra gifted to me by my yoga teacher and mentor David C. Kyle, quoting Larry Schultz: “Live in the question.” So with that as my compass, I packed my suitcase, crossed the world, and committed to doing exactly that.

After the intimate, self-driven process of my solo, Frontière dropped me into the intensity of large-scale devised world-building, and into one of the most demanding collaborative environments of my degree.

Set inside The Kingfisher

- a fully immersive mediaeval beer hall built inside The Edith Spiegeltent for the fictional fantasy franchise War for the Red Crown -

Frontière asked us to interrogate fandom, spectacle, and the hunger for meaning inside manufactured worlds.

Not passive patience, but the active kind.
The kind required to collaborate inside chaos.
To listen beyond words.
To read the room, hear the bodies around me, and stay available to collective creation even under pressure.

It taught me to trust an unfolding rehearsal logic that often felt opaque in the moment, and to find creativity not from control but from surrender and response. I learned to pace myself, to negotiate tension gently, and to hold my artistic instincts while remaining open to each collaborator’s rhythm.

Frontière strengthened my ability to work as part of an ensemble on a scale I had never experienced before. It expanded my capacity to devise, to problem-solve collectively, and to stay grounded in high-pressure, high-intensity timelines. It taught me that meaningful collaboration is not about agreement, it is about resilience, attunement, and the courage to stay porous.

Matters Out of Place marked my first large-scale experience with site-responsive performance, expanding my practice into placemaking and worldbuilding on Noongar Boodja. Working in the Old Westpac Building meant confronting the hidden histories beneath the CBD, wetlands buried under concrete, exclusion zones, and stories withheld by time.

As a member of the Cultural & Ethical Practices group, I worked closely with Elders and cultural knowledge-holders, especially Nan Roma, whose guidance profoundly reshaped my understanding of custodianship and cultural responsibility. This project asked us to listen deeply, unlearn assumed frameworks, and understand fully what it means to “have a yarn”. I was privilaged enough to engage with Indigenous knowledge directly, and this conversations where some of the most meaningful learning of my entire degree. Matters Out of Place crystallised my belief that performance is always in dialogue with the land it inhabits.

Working inside the Old Westpac Building also meant learning to listen to place in very literal ways. The dust, age, and history of the site stirred up so much debris that several of us developed short-term respiratory irritation… The MOOP lung. Now, it serves as a beautiful reminder that site-responsive work is never metaphorical. The body encounters the reality and actuality of place as much as its stories.

Katzenmusik, directed by Emily McLean, shifted my practice again, this time toward heightened naturalism, class commentary, and precise character work within a clearly defined creative hierarchy. After so many self-devised processes where performers are responsible for generating everything, stepping into a traditional actor–director structure felt not only refreshing but like a genuine privilege. It allowed me to focus deeply on craft, rather than on holding multiple roles at once.

Performing six distinct characters required vocal agility, physical specificity, and an unwavering commitment to ensemble cohesion. Under the expert guidance of Julia Moody (voice) and Will Dickie (movement), I refined my approach to building characters with nuance, clarity, and intention.

My creative trajectory culminated in leading TILT: The Chair of Saint Peter (& Other Games) as the director and curator. This project blended ritual, absurdity, satire, and complicité to examine power, belief, and human contradiction through the metaphor of a papal conclave turned children’s game. TILT required advanced dramaturgical thinking, project management, leadership, and community-facing practice — skills that continued into the project’s next life as part of Fringe World, Summer Nights 2026, and a residency with The Blue Room Theatre.

In tandem with my theatre practice, yoga has remained a pillar that informs my approach to collaboration, presence, and embodiment. The principles of prescene, discipline, and surrender thread through all my creative work.

Across my degree, I consistently sought out unfamiliar terrains - creatively, culturally, and intellectually. I learned to meet each project not with certainty, but with curiosity. This portfolio reflects that journey: a commitment to listening, to questioning, to standing up for what’s right, to hold on tightly and to let go lightly.

I will continue to be bold in solo work, generous in generating collaboration, and brave enough to push Frontiers - living in the question, even when the process TILT beneath my feet.