​As a performer, I have worked in contemporary dance and theatre with a wide range of artists including Andy Degroat, Bob Wilson, Michel Schweitzer, Company 14 :20, and more recently Dalila Belaza. As a self-taught dancer, I developed a technique of undulating movement with the body that I still teach today. Curves in movement, whether in nature or on paper, have always fascinated me because I see in them the expression of a permanent mystery, of an infinite relationship between the empty and the full. As a natural extension of dance, I started Arabic and Persian calligraphy in 2017, which I learnt over 5 years in the traditional way from the Iranian master Bahman Panahi. These two disciplines come together in my work. The usual space of calligraphy is impacted by a sensitivity to movement inherited from dance. The incessant repetition of calligraphic gesture is organised into a new form. The lines are compressed and linked together to create a new ‘weaving of tradition’. And the original meaning of the letters recedes behind the undulations of the whole. This leads to two sides of the same research: organising signs into a new evocative object, and giving an abstract form the quality of a sign.