Living in the window of a trapeze, looking at the forest behind my caravan window, slightly opening the window to let in fresh air.
Turbul’, a circus school in Nîmes. The bird finds a springboard for its early flights. I identify with the migratory flock; collective life suits me. Educational and socially engaged artistic projects allow me to approach circus as a social practice, a vector for exchange.
The joy of climbing trees and feeling the void beneath my feet leads me instinctively to the fixed trapeze. This suspended space becomes my nest, my sensitive cabin.
An ecology of practice: the defined lines of my apparatus resonate with the torn kraft paper of my collages; literature nourishes my circus imagination; the trapeze allows me to weave my inner journeys.
From 2017 to 2020, my studies at the Conservatory of Dance and Theatre enriched my relationship to the stage and opened new perspectives. In 2020, I joined the preparatory program at the École de Cirque de Lyon. A liberating period began, during which I started researching slowness and iconographic writing on the trapeze. I affirmed my taste for stage presence by embodying varied emotional states and exploring bodily metamorphosis.
My encounter with Yann Virot, a juggler from my cohort, marked the beginning of a duo focused on the détournement of construction materials. This led to the desire to later develop a trio project with Mateo Motes, a floor acrobat.
From 2022 onwards, I continue my flight at the Centre National des Arts du Cirque in Châlons-en-Champagne.
I conceive trapeze writing as a photo album traversed by continuous movement. Varying my supports and take-offs allows me to build a singular acrobatic vocabulary.
By creating a trapeze with a three-meter-wide bar, my suspended landscape expands, and other climbable apparatus begin to emerge.
To open yet more windows. To scramble over new ledges.