I've always found a refuge in words. Writings take care of what bodies fear: caresses and blows. Words materialize my sensations and weave a skin that is put outside my mouth on pages. I've studied philosophy and literature in Arts Faculty at the University of Geneva to grasp myself through texts and to penetrate and analyze others' language, in their sinuous paths. I became more and more attached to styles of writing, as well as to individuals because I felt an authentic discourse that revealed rich inner lands.

 
However, my studies lacked the body. Theatre made me realize that my body spoke more than my words in a language that no one could translate, including me. Dance and performance sketched inimitable movements. The scores can be reproduced indefinitely, but the embodiment changes each time and it's this uniqueness that animates me. 

During my professional training as an actress at the Geneva Conservatory and at the Ecole Supérieure des Teintureries de Lausanne, encounters with artists such as Frédéric Fonteyne, Gian Manuel Rau, Emilie Blaser, Marco Cantalupo, Olivier Dubois, Jean-Baptiste Roybon and Massimo Furlan have carved rich inner grooves.

 

The body in space is essential to me. 

My visual influences converge as much with Sophie Calle, who transcends private space by immersing the public, as with Spencer Tunick, who saturates public space with a crowd of individuals, blurring the boundaries between private and public. 

The art in which I identify myself is an art that gives an equal importance to places, objects, lights and people, whether this art is performative, choreographic, cinematographic or theatrical.

I created the substance brute project from what I call Traum-a, a place between dream (Traum) and trauma. The result is a raw, unaltered material, bringing together my creations in various artistic fields.