"Blackness is fugitive, and fugitivity is a desire for and a spirit of escape and transgression of the proper and the proposed." 

Monten, Fred.

As a non-binary Brazilian-Canadian interdisciplinary artist in theatre, dance, and film, my work deliberately reinvents itself, so Monten's Fugitivity best explains my career to others. fugitivity illuminates the reasoning for non-linearity, for reinvention, for challenging every set mode and never fitting in. 

As a kid who was always living between spaces, a fugitive of norms, and curious about life, I use my work to bridge the cultures I inhabit. I got curious about how Live Arts can temporarily dissolve barriers between like-minded groups, as the circus and street carnival were cultural examples that fascinated me in Brazil, because one's wealth, sexuality or religion became invisible as we shared the experience.

To experience this act, you have to be present here, in whatever place it is happening, beside whoever ends up next to you.

I'm a gatherer, someone who needs to speak as many life languages as possible to facilitate the collision and rebuilding of what the creation room looks like when we join.

For the audiences, I invite them into a theatrical world that is aesthetically out of the ordinary; it's either bigger or smaller, perhaps louder or upside down. My worlds carry human stories of love, grief, fear or joy.

In my second year of theatre school, I joined an anarchist theatre company, and soon after, the collective subverted itself and invited me to direct our next play. That is when my career as a Director and a Deviser officially started, by peer pressure, with that first piece planting the seeds for what I do today.

When I think of it, by simply entering an anarchist theatre company out of conservatory training, I was intuitively following my desire to merge often separated philosophies.

I was SETTING UP particle collisions while using my skills as the accelerator. 

In storytelling, I yearn to explore the private with the public where Tenderness, as a concept, carries softness and soreness, holding in itself the poetic and the brutal, the wonder and the void, the gentle and the despairing.

In theatre, I place significance in the architectural aspect of performance, something reminiscent of Schechner's Environmental theatre, having staged pieces in alley, travelling, arena and proscenium format - always starting from the topography and then working with the actors and designers to animate and embody that space.

A director, for me, is a world builder and is responsible for offering collaborators an internally cohesive village they can inhabit. That building also accounts for the audience's presence, whether as a voyeur, a witness or a participant. 

my work with the actors emphasizes gesture as narrative. I am often cited as either a Choreographer, a Director, a Dramaturg or a Creator.

As an intercultural and interdisciplinary artist, I am deliberate in evolving my artistic process, adjusting to each project and medium and making leadership decisions that support the contradictions present in the room.  

My artistic influences in theatre Diana Taylor and Peggy Phelan; Brazilian theatre of the tail end of Dictatorship, Victor Gracia, small stories of resistance told in intimate spaces from Plinio Marcos. Pina's narrative and I closely follow the work of contemporaries such as Maiko Yamamoto and Gabriela Carneiro da Cunha. 

All these artists explore either a unique relationship with the audience, a reshaping of the stage, a creation methodology based on collaboration or a narrative that challenges the supremacy of words. 

They inspire me to find one or two uniquely challenging, transgressive, fugitive aspect in every piece I direct. 

My practice, Much like jazz, One can recognize the artist's essence by the body of work, but each session is fresh. 

I am evolving my skills towards larger-scale projects to amplify my instrument list and better serve the stories I tell, so my lack does not constrict them. Theatre makers need to be responsive to the times they live in; they need to learn as many life languages as possible to not limit their artistic abilities to the bubbles surrounding them.

My work wants to engage with all the communities I love, and I love many of them, so I must keep escaping.