Creative Direction

Photo by Mac Tsang

Creative Direction

I am interested in the moment when an idea begins to take form.

Creative direction, for me, is about attending to the conversation between movement, image, sound, space, technology, people, and story.

Rather than treating these as separate elements to be arranged, I look at how they can speak to one another, how they can reflect the lived experience or questions at the centre of a work, and how they can create space for people to bring their own stories, perceptions, and experiences into the process.

My work often begins with movement, but the process is shaped through attention: what is being held, what is emerging, what is not yet being said, and how the different languages within a project can deepen one another.

I return often to questions of perception and attention, and to embodied and kinesthetic intelligence as ways of learning, making, and understanding.

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Selected Work

A selection of projects developed through choreography, creative direction, performance, and interdisciplinary collaboration.

Musicals

My work in musical theatre has primarily been as a choreographer. Coming from contemporary dance rather than a traditional musical-theatre background gave me room to approach choreography through character, story, and physical language rather than defaulting to familiar movement conventions. Working with HKYAF was especially formative because it created space to explore musical theatre with curiosity, specificity, and a willingness to let movement grow from the world of each production.

Contemporary Dance

Contemporary dance has been where I have worked most fully as a creative director, often carrying projects from the first idea through grant writing, production proposals, rehearsal, and performance. These works have allowed me to think across the whole environment of a piece: choreography, lighting, sound, costume, production, and the relationships between collaborators. The process is interdisciplinary from the beginning, with each element contributing to how the work is experienced.

Experimental Film

Experimental film has opened another way of thinking about embodied experience. I am interested in what happens inside an atmosphere, not only what can be seen or explained, but what the body registers while learning, remembering, changing, or encountering something unfamiliar. Film allows image, rhythm, sound, voice, and environment to hold those experiences differently, creating space for the body to speak alongside language and knowledge.