Since 2016, I have been developing my own artistic language across disciplines. But my creative journey began earlier: I started gymnastics at the age of four, discovered dance at eleven, began writing at twelve, and found my way to acting and theater at seventeen. These disciplines have accompanied, influenced, guided, and shaped me—until I fully committed to them as my sole profession in 2024. During my theater studies in Munich, I wrote and directed my first piece Ver(n)eint, performed at Rationaltheater and Pasinger Fabrik (2016). While studying film and media in Tübingen and Brisbane  (2017–2020), I explored storytelling through a series of short films. In 2021, I brought dance into public space with my three-part series (ER)LEBENS(VER)LUST in Munich. In 2022, I co-directed a documentary with filmmaker Meri Väyrynen. My 2023 solo Coral addressed the dying coral reefs as a metaphor for ecological urgency and human responsibility. In 2024, I created Unleash—a dance solo combining live music and bodypainting—for the be(p)art Festival. My work has been supported by Jugendkulturwerk München, Kulturreferat München, Sozialreferat München and Fonds Soziokultur.

In 2025, I travelled to Vietnam for artistic research, where I studied traditional Vietnamese dance forms and performed to the live song Ngồi tựa mạn thuyền (2025) at Secret Gallery. From November 2025 to April 2026, I completed a training programme in dance performance at the School of Disobedience in Budapest. During this period, I created the duet Fighting Demons (2025), which explores unhealthy relationship dynamics, and contributed to the collective work Breathing Galaxy. 

2026 I started my research for a dance piece for young audiences “Tauziehen mit dem Angstmonster: Wie die ungesunde Angst tanzt” about resilience and anxiety funded by Kulturreferat München.

Alongside my artistic practice, I am committed to cultural mediation. Having grown up with limited access to art and culture myself, I’m passionate about helping make the high art and culture sector in Munich more inclusive and accessible—especially for communities who are still underrepresented in these spaces. This commitment is reflected in my work for institutions like HochX Theater and Live Art, as well as in projects I initiate myself, such as the be(p)art Festival: a discrimination-sensitive, diversity-centered platform for artistic exchange and participation.