"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. fugitivity illuminates the reasoning for non-linearity, for reinvention, for challenging every set mode and never fitting in. 

As a brazilian 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 grew curious about how Live Arts can temporarily dissolve barriers between like-minded groups, with the circus and street carnival as cultural examples that fascinated me, because one's wealth, sexuality or religion became invisible while we shared the experience.

To witness this act, you have to be present, in person, in whatever place it is happening, moving and breathing beside whoever ends up next to you.

For the audiences, I invite them into a theatrical world that is aesthetically out of the ordinary; it's either bigger or smaller than normal, perhaps louder or upside down. My worlds carry stories about our desires and our anguishes.

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 acting 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, including Victor Gracia and small stories of resistance told in intimate spaces from Plinio Marcos. Pina's narrative shakes my soul 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 is kinda 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.