In our current global context of exceedingly visible and extrinsic borders – Trump’s wall, geographical boundaries, Brexit – my work seeks to engage with the psychological and intrinsic borders that we hold within ourselves. Fear of new ideas, birth, death, lightness and darkness, and cultural crossovers and divides.
Where do these borders begin? How can they end? How do we trust them to such an extent when they themselves are such fragile and moveable concepts? We base laws, rules, ideals and philosophies on these borders – both tangible and intangible – that continue to emerge, disappear, oscillate, and change shape and yet, we take them as fixed.
You are a dancer and now a choreographer – tell us about your artistic evolution?
I have always been hungry to create and this began in London at Ballet school when I had access to space and ample performers. Experimenting and working with many artists, directors and choreographers across Europe since the beginning of my professional dance career has meant that I have had the privilege of being exposed to an enormous landscape and range of aesthetics, processes and very talented people.
This has definitely informed my own artistic evolution as well as the mentorship and voices of people like William Kentridge and Robyn Orlin who have encouraged an almost 'abandoned play’ approach to the artistic process. Also, the fact that I still perform myself has been incremental to understanding the role and agency of the performer in relation the choreographer and the work.
You live in Germany – but also tell very South African stories in your work how does living there impact on your creative process?
Johannesburg is a space from which I draw much of the inspiration, enquiry, and conceptual basis for my work, which is most often fine-tuned and actioned out in Germany.