I’ve worked on both large-scale and intimate performances, solo and in collaboration. Most recently, from 2018 through to 2020, I’ve been working with performance company Oceanallover on two of their projects, Orographic and Transfigured, performing with them at Dance Base during the 2019 Edinburgh Fringe and at the 2020 Manuplate Festival at Edinburgh’s Summerhall, as well as at various outdoor locations.
Other recent projects include A Dance called the Anthropocene, performed at Unfix Festival, and Winterwerft in Frankfurt; How We Walk Through the Fire at The Big Room, Macclesfield; and The Night Breathes Us In, at Reading’s Festival of the Dark.
Earlier work includes Liminal, an immersive, site-specific performance, commissioned for Dark Mountain’s Uncivilisation Festival, and set in fifty acres of woodland, with a cast of 20 performers and musicians.
“An orchestrated catharsis, like the story of the beginning of the world.” (the Independent)
Charnel House is a one to one performance and installation that has appeared at Wilderness Festival, Glasgow GOMA’s Day of the Dead and Edinburgh’s Hidden Door Festival. It is a house of bones, an ossuary for the dead, a place of transformations.
“A beautiful, strangely intimate experience. A moving articulation of loss.” (Persephone Pearl, ONCA Gallery)
Much of my work is staged out of doors, embedded within the landscape. I’m drawn to making ephemeral ‘found’ performances, and I try to use natural materials and employ low-tech effects: candles, firelight and acoustic sound, rather than diesel generators and PA systems. As such, the work could be described as ecological in both practice and purpose.
Rannoch Wolf is a performance for the benefit of passengers on the West Highland train line. It’s a playful exploration with a deeper resonance: why a wolf, why there? Initially a solo performance, in 2018 I returned to the moor with a pack of wolves. For an account of that experience, and a short film of our performance, go here
I have trained with the Mexican director, Nicolas Nunez, and continue to be influenced by his idea of an ‘anthropocosmic’ theatre. My piece Teine Èiginn is inspired by his work. It was created in collaboration with sound artist Nichola Scrutton, and made its first public appearance at the 2015 Hidden Door Festival. I’m grateful to Lorna Simpson who made this short film: