I make wearable sculptures: objects built to be worn and inhabited by the body. They hold the body in and let it expand, often at the same time. My work begins with research into materials, form, and movement. I want to find what a material offers and what it resists, and what happens to a body caught between the two.

My performances are about trying to fit. A woman struggles into a rigid cast of her own body while repeating “It’s natural.” Another, tied to a heavy bundle, gathers red shoes that keep spilling out and packs them again, and again. I perform these actions with complete seriousness, and the audience often laughs. I like that laughter. It shows that we all recognize the contradiction: we know a norm limits us, and we keep obeying it anyway. The absurd falls on the norm and on the one who obeys it.

My interest in this started with drag, which shows how much of what we call natural is learned and performed. Since then, artists like Lygia Clark and Hélio Oiticica have shaped how I think about the body as a way of knowing, and Carolee Schneemann has shown me how far an artist can go in using her own body as material.

Video and the camera are part of the work. I use them as an extension of the performing body, and I build installations and non-linear narratives where image, material, and body meet.

My background is in theatre directing and in more than a decade of work on film sets. Today I am bringing what I learned performing alone into collective work. I invite groups of people to wear, build, and move with these objects, and to discover together the norms they carry in their own bodies. For me, making art is a way of understanding myself, and more and more, a way of understanding ourselves together.