DSC00462▼ A creatrix, catalyst, dancing witch, multi-disciplinary researcher and artist, facilitator and an inquirer into an indefinite process of falling, failing and rising in love and taking off to learn where touching the core was missed last time to grow some more.▼

Reclaiming the word ‘creatrix’ (the feminine of the ‘creator’), to purify it from its prevalent culturally conditioned associations with a woman’s reproductive capacities and open the word also to its other possible meanings as 1. a female founder, authoress, creatrix 2. a female who brings forth, produces

Tereza’s statement: ”Sharing wisdom and creativity with others turns me on intelectually as well as in my body and soul. I create workshops/labs in which we can learn together. Beyond my love for language and poetry, I enjoy immensely the wisdom and knowledge outside of words, written between the lines and reflected in images, abstracted forms and the pulse of our heart and flesh, our rivers, eruptions, shortcomings, beauty, swimming in the gutters of urban canalisations, our earthquakes, immigrant cells and the life-giving shine and rain. Between discourses and lived experiences  and the sensoric – therefrom I abstract my choreographies. I am curious about histories of bodies and a psyche, touching the toughened parts, softening, remembering the forgotten, creating new micro-worlds and leaving the obsolete.

‘Creation comes out of vulnerability, doesn’t it? Some kind of attunement to something that isn’t you. Susceptibility.’ Timothy Morton

I research experimental anatomies and cartographies. These maps I believe help us to decolonialize the notion of space, physical and political borders and to trespass the anatomical knowledge defined often in a binary of a ‘normalcy’ and ‘pathologies’. The ever-changing maps empower and bring us to a notion of a fluidity, a need of a respect and honouring a capacity to listen into things deeply.

I work with an array of interests, knowledge, tools and research topics. I like to join them in novel combinations and conceptual synapses. Among my formative work so far belongs dance and movement research (contemporary dance – La Veronal, Jeremy Wade, Keith Henessy, Dickson Mbi;… butoh, CI, aerial hoop dance, flexibility training etc.), the connection to the sensate and the erotic, poetry, illustration, academic and embodied research of trance and possession states, ritual, performance, masquerades, carnival and other liminal spaces and arts in a social context.

I have been working with artists with diverse embodiment and non-neuronormative behaviour and worked as a physiotherapist for people with physical impairments. I inquire into different strands of magic, notion of the extra-sensory inception, birth, death and grieving research, biology, environmental studies, European herbal remedies, energy work and bodywork, witchcraft and its diverse contextualisation across time and different cultural/social groups. Another of my past experiences is providing peer counselling in a multi-national, -faith and -cultural environment, bridging people, their souls’ callings and a community. A permission to reflect back or engage with another’s process is a gift I humbly accept and cherish when viable. And fight for to be seen through.

By creating parties and playful yet seductively physical, cabaret pieces and performance with a subtle overreach into creative activism, I try to highlight themes and issues that are personal to me, yet capable to enlighten more collective dynamics or patterns. I believe in a power of communing in joy, openness and involvment as well as in healing properties of the art of  ‘making visible’.

I enjoy also words that might be less hyped such as solidarity, accountability, groundedness and responsibility. -In a changing sequence with a riot, ecstasy, the carnivalesque (and criticality).

I delight in searching for the ‘kernel of joy’* through art, poetry, breath, dance, for the erotic in its broadest sense, the creative life force, the life and its cycles na endings, which is an antithesis to the plasticized packaged sensations, freeing the word ‘erotic’ from a solely sexualized, anthropocentric and social context, where this misunderstanding capitalizes on serving us an idea of a disconnectedness from this source and incompleteness. I try to inquire into a possibility to reclaim it for our wellbeing instead of a status and image, attempt to learn, build and share ideas for our human wholeness while recognizing our individual longings and humbling interdependency and honouring  the more personal choices and the variety in which we can conduct relationship to the world and one another. This is the art of living we all are exposed to and compelled to learn and that often fuels me into more learning and creation.”

*Audre Lorde, ‘The Uses of the Erotic: The Erotic as Power’

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