For many years I practiced and taught release technique and floorwork with elements from Cunningham’s vocabulary. In particular, Trisha Brown and Merce Cunningham are for me two great lights, two extraordinary artists: Trisha with her sinuous, dynamic and non-violent dance and Merce with his exciting and amazing use of space.
Then, among the different generous and capable teachers that I could know, around 2015 I met Dominique Dupuy, for a single two-day workshop and I never forgot that meeting. Knowing him left me inexplicable emotions . Dominique, in his dance, has absorbed so deeply the use of modern and contemporary techniques that has matured his own method, so essential and precise in its aspects to be penetrating and sharp towards my pre-built schemes.
I began to wonder about what kind of poetry could nourish the composition of my contemporary practices and over the years so many principles have emerged that have shaped my knowledge in a new way.
These principles are born in particular from the observation of the nature in which I live and from the fascination for some elements of aesthetics coming from the Japanese arts.
They are based on the search for the essential that together with a noble humility, give space to a body attentive to detail, elegant and sinuous.
