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I'm a Swedish dancer and choreographer based in Malmö. Between 2011-2018, I was based in London, UK but eventually found my way back to Sweden. Since 2014, when I graduated from the BA-programme at London Contemporary Dance School, I continued to work as a  freelance dancer and choreographer (with one year of work as an Audiovisual Technician and Digital Producer Assistant at The Place in London). 

Since graduating, I have performed in works by a range of choreographers / dancemakers working with dancepieces for theatres, productions, gallery venues and site specific environments.
A few to mention (in no particular order) are Joan Jonas & Nefeli Skarmea, Khamlane Halsackda, Graham Adey, KASPERSOPHIE & Martin Forsberg, Khamlane Halsackda, Martin Creed, Laura Wilson, Alex Howard, Gracefool Collective,  Megan Rooney, Eva Recacha, KASPERSOPHIE, Rosie Kay Dance Company and more  (full list can be found here).

and life in dance
With the changes and complexities of the being, comes the ever-changing and ranging interests in dance, which is why I really appreciate the various processes and the integrity of each project I am part of. 
From 2017 onwards, I have been investigating the idea of - PHYSICAL ARCHIVING - which explores the idea of body as a storage room that can be emptied, full, light, heavy, intricate, easy, complex, simple, and more. It is a technique that is embodied from idea/thought or concept as initiator and relies on body memory and knowledge from other physical experience. Apart from this practice, I have for the past 11 years invested time/practice into movement techniques ranging from Release based-, GAGA-, Floorwork- and Physical Theatre into Contact Improvisation and Somatic Based Techniques (Alexander, Feldenkrais). 

In the past years another interest has been playing with how we integrate live-elements of sound in the form of text or instruments as well as working with props and costume as vital parts of performance.
I love to challenge my physical senses through textures and how these sensations transmit to the body, kinaesthetically and visually. Costume has in many contexts come back to me as a performer and become a keypart to work from in performance. 

and dancemaking
My work derives from urgent and burning desires to visually and physically relay information/ideas/reflections on society, identity and political matters.
To me, one of the fundamental drives is to approach the questions from a blend of personal and other peoples knowledge or experiences . 
Working collaboratively and with others is a central essential aspect for me. This can be directly in the research environment and very often in dialogue with the audience. 

I find the play and opportunity to investigate reality and fiction to be fundamental in my creative work and the constant movement of boundaries, that in turn enforces shifts in perspectives of the viewer. 


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