Maeva was born in the canton of Geneva at the end of the 20th century. She was a rather daring child and would get up to some rather dubious stunts, such as hurtling down a slope on a scooter without using her hands. She spent her time at the foot of her block of flats climbing trees and so, inevitably, she found herself in a gym climbing on people. Her fearless streak gradually faded, so she enrolled at a circus school where falls were, at first glance, less frequent. She dabbled in a bit of everything before settling on the moderately dynamic hoop.
By a happy coincidence that was no accident at all, Maeva found herself under the big top at the Théâtre-Cirqule, where she stayed for four years whilst studying for her Swiss baccalaureate with music as an optional subject, despite having no knowledge of music theory. In 2021, she left Switzerland with her metal hoop and her film camera to discover the Scuola Circo Flic and the world of multilingualism. She trained in highly dynamic hoop work and was enriched by encounters with Roberto Magro and Eva Ordoñez. Two years later, she was accepted into the CNAC, where the solitude made her nostalgic for the days of working as part of a group. Creating a performance in a public space with two students from FAI-AR proved to be a defining experience during her training. Her hoop practice evolved as she explored different styles, but the spin, for its part, would always remain tucked away at the back of the cupboard. Whilst living in Chalon, Maeva rediscovered the music she had set aside a few years earlier. Accompanied by her ukulele and her shyness, she began singing in her bedroom. At the same time, she continued with her craft projects, which took the form of collages or linocuts.