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At the Design Academy Eindhoven my work transforms itself again. I'm a guest tutor and I meet the students at the very beginning of their studies and then at crucial moments: before their presentations and final proof.

The First workshop is   The Integrated Self 

The aim is that of experiencing creativity from a new perspective, which starts from the body and its design.
We practice movement patterns, movement research, focusing on qualities, rhythms and tempo.

Working with the body allows to take the pressure off the mind: breathing and embodying a positive attitude, practicing resilience,

connecting with the physical world, allowing ourselves to reshape the thinking process in a state of flow.

My wish is to pass on the sense of the artistic practice as an integral procedure.

Its starting place is the confident connection within ourselves. Finding a place in our being from where we step forward;

and then, then comes the desire and the direction we choose, our individual view.


We clarify the agency and the dramaturgy through the awareness of presence and gaze.

We practically find our voice by releasing sonic power through active sound production.

Exploring Rhythmical patterns, space and resonance, learning to recognize sensorial gaps.

This and more, in ta 20 hr creative workshop.

I am inspired by minimalism in post modern dance, by the works of Trisha Brown especially and Anne Teresa de Keersmaeker, by the brilliant performances of Julyen Hamilton, by Willi Dorner's site specific work, and Emio Greco/ PC Scholten sense of dramaturgy, by traditional choreographies and collective rituals. By philosophers such as Jean Baudrillard, Deleuze & Guattari, Michel Foucault.



The following workshops are Presentation: individual work.

The aim is that students are able to present and discuss their own project successfully.

Linguistic, visual, audio, gestural, and spatial patterns of meaning acquire a specific sense on a multimodal level.

According to where they are placed in relation to each other, these sign determine a composition. Figures of speech such as metaphors, alliteration, antithesis, create dynamics between the multiple layers of discourse, depth and perspective to what needs to be said. Rhythm plays a crucial role in creating cohesion and structure in multimodal texts and communicative events that unfold over time. 

A good text design makes it easier for the speaker-performer to deliver it out. A composition makes it possible to find rest during the performance, to use our energies and resources in the best way. No matter how self confident I am, if I don't have a good base to speak from I won't be able to succeed. Conceiving a good script helps to avoid cliches and/or over-emotional patterns of communication.

If someone suffers from stage fright, they can benefit enormously from this process of analysis. Becoming "friends" with the script, discovering its potential playfulness, managing the secrets behind its construction provide a great deal of confidence. A sense of authority is naturally evoked by the fact that indeed, we are the authors of the presentation, not its victims.

Working on these aspects makes the preparation of the presentation a powerful creative moment.

The aim is indeed that of making the text accessible for understanding and enjoyable, but it's also to surprise the listener by articulating the material in a way that keeps them alert and eager to know more about the project.

It is about mastering communication.

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