All theatre is playing make-believe, and puppetry especially so. This is at the core  of my approach to making and performing. I’m fascinated by the way audiences willingly meet a puppet halfway; They know it isn’t real; They’re in on the game and actively choose to believe that the puppet is alive.

This shared understanding gives permission to lean into the liminal, imaginative space of the performance, to explore texture and style, and to let emotional truth take priority over literal realism.

For me, puppets don’t have to look real, but they do have to feel true.

My artistic style leans towards puppets that have a tactile materiality to them, that exist as part of the world they inhabit. They are often a little uncanny, though hopefully equally evocative at the same time. My stylistic approach invites the audience into a shared act of imagination and creation with the performer.