Over the past two decades I have developed an artistic practice grounded in movement, shaped by extensive experience in urban and contemporary dance, including collaborations with major brands, international music artists, studies at Folkwang University of the Arts, and formative work with Tanztheater Wuppertal Pina Bausch.

Since 2019, my practice has undergone a shift in medium toward composition. In my Master in Integrative Composition (ICEM Folkwang UdK), I defined electronic and spatial music as an independent artistic field within my artistic practice, establishing a compositional framework that operates beyond choreographic structures.

My work engages space and time as distributed compositional parameters. In choreography, these are organized through the physical presence and relational dynamics of bodies in space; in multichannel composition, they are constructed through spatialized sound and mediated perception. This transition is grounded in a long-term embodied practice in dance, which has developed a refined aesthetic sensitivity for spatial and temporal articulation. It is this embodied understanding that directly informs my approach to multichannel composition, allowing spatial and sonic structures to be shaped with a choreographic precision translated into an acoustic field.