My practice began in shibari, where I experienced intimacy through stillness, trust, and breath- elements as essential as form itself. As the one being tied, I learned how much time, listening, and responsibility are required to hold another body safely and attentively. Sensation was shaped not by action, but by patience: pressure applied slowly, pauses that allowed the body to respond, moments of release. These experiences taught me how intimacy is built through attention rather than control.

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From this foundation, I developed a solo performance language through pole and movement as a way of giving that attention back. Movement has always been my first language - It is how I think, listen, and respond. Although the body is alone on stage, the logic of intimacy remains. What appears as five minutes of movement is supported by long preparation - conditioning, repetition, failure, and refinement. Here, intimacy is constructed through time: learning how to meet gravity, how to sustain weight, how to remain present rather than perform.

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Across performance, modeling, and collaborative work, I am interested in how intimacy is learned - how humans attune to one another, misalign, hesitate, and try again. I pay attention to elements that register before language: breath, weight, proximity, and the subtle atmospheres that linger in a space. In this sense, movement operates not as expression but as a mode of listening.

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My practice exists between disciplines, crossing performance and ritual, fashion and body, private gesture and public encounter. Rather than separating these practices, I see them as one continuous archive - returning to the same questions through different forms.