The Littlest Bit Happier was the first performance I had created by myself, an extremely valuable experience. I think what made this experience so valuable is that I had the opportunity research and gain insight into autobiographical and biographical performance: Making work for a purpose, for political reasoning: Making people understand either something about themselves or the world around them: It also gave me insight into different ways you can develop and create material. A huge stepping-stone in my experience.

Walking with Spirits was an audio/video I created around York city centre. Inspired by Ghost Walk’s, I created Walking with Spirits in response to the environment of York. When walking around the York City streets at night, you can sense the deep history of the surrounding area. Which inspired the notion of multimedia, fact and fiction, real and unreal. These are all notions explored in Walking with Spirits. Click here to find out more about the project.

The Teacup Generation was a politically engaged practice, we asked members of the public to come together with us to rebuild broken teacups. Representing and disregarding the stigma surrounding mental health and our ability to talk about mental health. When researching mental health statistics, we found that 1 in 4 university students suffer from mental health issues every year. We believed that if we had the opportunity to talk and craft together it would make students feel safe. Removing the stigma and helping people feel better about having issues, normalising mental health.

In Loving Memory of Thera was a physical theatre performance created and lead by artist, Rita Marcarlo. The piece of work was created to represent the futility of the earth and the effect global warming has on the environment. We worked together with Rita to gain insight and information on our carbon footprint and the effect that we and others have. At the current rate of our energy consumption, using the planets resources will cause the global warming to flood the world within 45 years. This was worrying for us and Rita, thus we wanted to create work that would be informative for the audience whilst also being emotive.

In Loving Memory of Thera was about our funeral as much as the worlds.

Perchance to Dream was a performance created through forgotten memories of members of an ensemble cast. We put our collection of memories and transported them into the world of the Arts, paying tribute to the holocaust. We explored how we pay tribute to a matter as sensitive as the holocaust without witnessing the event and living through the period. The performance for me was like a jigsaw puzzle, with lots of different pieces tied together to create a beautiful piece of theatre. The members of the cast were inside ‘nowhere.’ We were in a space lost in time, memories are the only fragments keeping us together and saving us from losing our humanity.