Bio

The practice draws on a background spanning architecture, design work on the Brazilian Navy’s nuclear submarine programme, and Vaganova ballet training. Biomechanics, geometry, origami-based structures, kinetics, self-assembly, modelling and coding all become choreographic material. Natural mechanisms turn into experimental movement and spatial systems that let performers transform embodied patterns, expand their physical range and shape the choreographic space around them.

Across theatre, outdoor, site-specific and installation settings, choreography becomes a dynamic system where bodies, forces, structures, light and space continually reorganise one another. This is informed by artists including Pina Bausch, William Forsythe and Russell Maliphant, and grounded in contemporary dance, Tanztheater, participatory performance and ecological thinking. Site-specific installation work has merged movement, spatial environments and audience interaction in pieces shown across Brazil and Europe.

Trained originally in Architecture and Urbanism at the University of São Paulo, the research since evolved toward biomimetic systems, morphogenesis, collective behaviour and adaptive structures found in nature. These investigations now inform choreographic thinking around movement ecologies, spatial relationships, participation and embodied interaction.

Two PhDs, in Design and Architecture at the University of São Paulo and in Technological Innovation for the Built Environment at the Politecnico di Torino, sit alongside postdoctoral fellowships at the University of São Paulo, UFABC, the University of Bologna and the Silesian University of Technology. Together they have supported peer-reviewed publications on 4D printing, bioinspired materials and structural mechanics, plus international collaborations spanning Caltech, ETH Zürich, Empa, Brunel University London, the University of Bristol and Nagoya University. The work has been recognised with Advanced Functional Materials’ Most Read Article award and SIICUSP’s top research prize.

Vocational Vaganova training in Brazil underlies two decades of teaching in higher education alongside classical ballet pedagogy: a Level 4 Diploma with the British Ballet Organisation, certification in Preparatory, Year 1 and Year 2 of the Vaganova methodology through the Bolshoi Theatre School in Brazil, and completion of the Inspire Teacher Training Programme at the Royal Ballet School. Teaching and artistic development have also crossed the Acosta Dance Centre, the Royal Ballet & Opera, Sadler’s Wells, independent dance companies and primary schools.

Volunteering with the Royal Opera House’s Learning & Participation department has included a Creative Exchange dance project run in partnership with the Multiple Sclerosis Society, and Family Sundays sessions designing and prototyping alongside children. It is participatory, sensory-inclusive work, grounded in accessibility and embodied imagination, where movement, memory and participation become something shared.