On women subjected to objects in her work

I was born in Paris in 1970. I spent my childhood in the countryside where my parents, former sculptors, started to raise goats. I have always had a special relationship with objects: strange attachments, rituals, collections of stones, carefully selected then put into little bags with labels, making little sculptures, a strong relationship with painting materials, the line, the word. Then juggling objects, hand-sewn balls. I discovered circus at the age of thirteen, at the school of Saltimbanques in Chenôve, immediately a passion. I attended this school for four years, learning acrobatics, contortion, juggling. At the age of seventeen, I entered the National Circus School of Châlons-en-Champagne from which I was thrown out after a rough year. I then started learning by doing: little roles for the cinema, opera, theatre. Some encounters will count: with Lan N’Guyen, pedagogue, then teacher at the Cirque Plume school, who taught me contortion through games and creativity, with Jerome Thomas who influenced my work and encouraged my projects. There were also significant workshops with Marc Michel Georges, Yoshi Oida and Guy Alloucherie for the theatre. The use of drawing, BMC (Body Mind Centering) with Lula Chourlin and Janet Amato. And more recently, a workshop entitled “Transmettre”, with Benedicte Pavelak.

Shows in companies

The first tours, when I was eighteen, were with the Bidon Circus. Three hundred shows – with horses hitched to caravans, on the roads of Italy. With the street company La Salamandre, shows, performances between 1990 and 1998. I experimented here the specific requirements of street theatre: how to adapt to any kind of place. I practiced improvisation and creation of the show Ca roule with the musicians Matthieu Léon and Patrick Sapin. With the Jerome Thomas Company, I participated in the GR12 research group from 1995 to 1997 and I played in Le Banquet, a play for ten actors, jugglers and dancers. In 1993, with the juggler Vincent Filliozat – founding member of the Cirque Plume – and the musician Bertrand Boss, we created the Maracassé Trio. Bal has been played 300 times in the whole world, 5 years of tours, of travel. Between 2002 and 2006, with the Cahin Caha Company, there was the Imprudent Cabaret with Arthur H and the creation of the Grimm show under a big top.


In 2000, a first solo 3 littles coins, women’s solo, directed by Vincent Lorimy and Jerome Thomas. Portraits of women inspired by travels.

In 2001, a second solo My place, outdoor play for a woman and a caravan, directed by Vincent Lorimy and Gulko, commissioned by the Centre des Arts du Cirque de Cherbourg and by the Grande Halle de La Villette in the Les Baraques (Shanties) project. In these two solos I approach my own poetics and in a more intimate way, my questioning about femininity and meaning.

In 2007, I kept on searching with In Praise of Hairiness, third solo, directed by Pierre Meunier. This creation received a research grant from the AFAA - Villa Medicis Hors les Murs 2006 –
3 months of research on the bearded lady where I travelled all around Eastern Europe. This show is part of the Company’s repertoire. It has been played more than 200 times in France and abroad.

In 2010, after In Praise of Hairiness which has been a sort of culmination of ten years of work, I created Goodby Dolly, co-written and directed by Julie Denisse. With this fourth solo, I felt a need to cut off radically from circus material. I commissioned François Cervantes to write a text and decided to go towards acting and the spoken word. For the first time, I made my companion-objects by hand. Here, two rag dolls.

In 2012, during a “carte blanche” at the Subsistances in Lyon, I created La poème, short play, a short piece in which I joyfully worked around the female body. I wish to reconnect with where I am from, while addressing new modes of expression; here, for the first time, the singing voice.

In 2014, I worked on large-format black and white drawings of female bodies in motion, performed with my eyes closed, which will become the scenography of La Poème, large format, a sixth solo created early 2015. It was supposed to be an extension of the short play but became totally something else. La Poème is a piece of outsider art, a single stroke dance, questioning the act of creating.