Born in 2002, Enrica grew up in Milan, Italy. By the age of 18, she had collected a rather unusual set of “useful and less useful” things: two dead languages (Greek and Latin), seven plaster casts, ten years of acro-sport, and a growing passion for circus performances.
Her encounter with circus happened during the Covid period—a strange timing, but one that sparked in her the desire to join a circus school for a year before returning to literary studies. Enrica was wrong, and she is glad she was. In 2020, she entered the preparatory school FLIC in Turin: circus reshaped her days, her body reshaped her thoughts, and her perception of the world.
As a hand-balancing artist, she developed an intimate relationship with the lines of her body and the geometries they draw, as well as with her hands—companions she met closely every day. After two years, this discipline proved too static for her love of movement, and in 2022 she joined the Centre National des Arts du Cirque (CNAC), specializing in acro-dance. From then on, it was no longer only about hands, but also feet, knees, elbows, belly, eyes, and toes.
Between choreographic writing, improvisation, and performance, Enrica travels physically through fleeting stories and images in formation—at once vast and minute. By sketching her gestures like pencil strokes, she draws and redraws her own narrative.
Throughout her circus journey, Enrica has never stopped training in dance, attending workshops in various schools such as SEAD (Salzburg Experimental Academy of Dance), venues like Tictac Art Center, and regular intensive Gaga Dance classes.