My mother is afraid of heights. She would turn pale whenever I climbed on top of her wardrobe or got too close to the edge of a bridge. Her worries had a counterproductive effect: heights fascinated me even more. In my local circus club, I only wanted to climb to the top of the rope and repeatedly touch the ceiling.
In my youth circus, there was no rope teacher, so I had to rely on the acrobatics coach. What he lacked in specific knowledge, he made up for with enthusiasm, and together we began transferring his acrobatic skills into aerial work. This education in dynamics still forms the foundation of my rope practice today.
At the age of twelve, I joined a troupe of young circus performers. Together, we created and performed shows at local events. Inspired by the older members of the troupe, I began to consider the possibility of a professional career in circus. At sixteen, I decided to move to Newcastle to pursue a BTEC in Circus Arts at Circus Central.
I continued my studies at the National Centre for Circus Arts in London. Under the guidance of Leo Hedman, I developed a more nuanced understanding of how the rules of rope can be flexible, and I found greater freedom and individuality in my practice.
During the Covid-19 pandemic, I spent most of those two years installing my rope under bridges and swimming in the Shadwell basin. This autonomy reinforced my desire to continue developing my rope practice, so I joined the Centre national des arts du cirque in 2021.
As the intensity of my training increased, I began exploring the importance of movement within my practice. I continue to pursue this exploration today.