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Ballet training came first with its very strict and unchangeable formats giving me the understanding for set mechanisms that I later chose to rebel against in search of tuning with an uppermost personal way of moving. In movement, I look to find and refine the power of transformation.  There was and there is an innate obsession with taking risks to find all the unknown ways in which my body can move. Is in that window of possibilities where I like to be, so I look for revealing the unpredictable and unfamiliar by materializing the process via urging my physicality to be tested. To me, motion parallels to talking because it is through movement that I find a deeper and more appealing meaning to my surroundings. I like to work in a creative process where the intriguing power of not predicting or presetting form forces the artist to rather find it while in the doing which ultimately becomes a long term fruitful artistic challenge.

I am already convinced how my upbringing determined the will for a lifelong dedication to performance and choreography. Stepping away and looking into my childhood, I see a great dichotomy between parental imposed strictness and the fulfilling sense of freedom that was provided by the surrounding natural landscapes of my native Spain. Both are guiding forces that from early stages have been defining me as an artist. As a result, I soon was searching for a balanced dialogue between the discipline implied in dance training and the internal fight for intuition to have room to speak through the articulation of the body in unrestrained and unpredictable creative ways. It is in the work that I develop with children, and the fact that I am around them most of the time, that has ignited my creativity and conceptual approach for “Looking Back”. In parallel ways, I investigate how being exposed to a cultural melting pot has armed me with a broader cultural identity that transcends my own. The fast pasted contemporary life styles of humanity only keep me slowing down to listen to all the intricate movements that my body is able to articulate. The demands that I impose to my body help me to generate new ways in which it can move.

The body is at the core and the movement it can generate the product, but it is about the process from one to the other where my artistic goal settles down and keeps pushing forward. The purpose is to apply multiple questions to the moving body in search of enabling a movement vocabulary that builds on the enduring blocks of my artistic vision. Performance came first but choreography emerged once I was trying to define a personal way of moving. It is in defining my artistic voice that I keep myself intrigued with the medium and busy creating anew. The astonishment and delight that playing with body weight shifting around different body parts and opening out into the space with an array of dynamics crafts the tools and skills that have made me as a performer and choreographer. My physicality has a strong appearance and aesthetic look and this is what I admire when appreciating other choreographer’s works or attracts me to collaborating with other performers. Physical and mental strength need to be a major force in the choreographic body of work for my level of interest to stay connected and high.

Lately and being immersed in the process of my newest creation “Looking Back”, I have been working toward integrating the African based dance vocabularies of hip-hop, break-dancing, and folklore with and already existing contemporary foundation comprehended by a great understanding on release and contact-improvisation approaches in movement. Improvisation is a force that has always been present in my choreographic process. There is nothing said or concluded yet but all the available openness of the space, the mind, and the body with the other related extra elements, as in the case of emotional resonance, that end up formulating the content of the work. Above all, I consider myself a movement researcher who explores without fear but intuition and sensibility. The cultural and political commentaries in my work are necessary because they speak of those things that affect me as an artist not in the way of protest or rebellion but acknowledgement. I ultimately seek a deeper connection with myself which in return connects me with those watching outside by not giving it away but drawing them in by surprise.