About
Form, studied. Presence, refined.
I came to movement through injury, in search of repair. What followed was slower than expected, and more enduring.
Over time, the work shifted. Less about correction. More about attention — to breath, to rhythm, to what exists between.
That listening now informs everything I do — in movement and stillness, in sound and silence, in the quiet disciplines of breath, form, and return.
The practice sits at the intersection of structure and release. Informed by classical yoga, pilates, meditation, and sound, it draws from lineage with clarity, and from repetition with intent.
The approach is technical and physical — attentive to tone, alignment, and detail — but always in service of presence, not performance. At its heart is the wish to hold a steady, unpressured space — where bodies, experiences, and abilities are met with care.
I offer one-to-one sessions in private settings across London, and group work within selected spaces including KX, KXU, Surrenne, and ENMEI in Chelsea. For those at home, The Studio offers a digital space — for sculpted movement, sound, and stillness.
Sound work is offered through gongs and crystal bowls — structured frequencies designed to soften awareness and restore rhythm. Intuitive readings may also be included — quiet ways of sensing what language may not reach.
The work is calm, structured, and responsive — shaped by psychodynamic study, therapeutic listening, and an enduring respect for the body’s own rhythm.
The approach is grounded in classical training — across yoga, Pilates, sound, and psychodynamic study. Certifications and continued study have taken place in New York, London, and Oxford, with methods shaped by Sri Dharma Mittra, Sharon Gannon, Norman Blair, and others.
Pilates work is informed by equipment-based forms — developed through time with STOTT, Karve, and Equinox (US). Sound studies include gong and crystal bowl training through Triyoga and the College of Sound Healing.
Current work includes postgraduate study in psychodynamic therapy at the University of Oxford.
Earlier training at the London College of Fashion continues to inform the tactile side of the work — material presence, spatial rhythm, and form as language.
I design Cloth as a parallel practice — garments made in rhythm with the body and time of day. Structured, tactile, and slow. Worn not to speak, but to hold.
Each piece is made with intention — shaped in natural materials, soft structure, and simple form. Designed to hold the body lightly, and create space for listening.
Cloth, like movement, is a form of attention — to rhythm, to texture, to what is felt before it is seen.
### 5. **Portrait (Optional)** One soft, honest photo — not posed or overly styled. Examples: seated, walking, hand in cloth, mid-teaching, or in natural light. If not a portrait, use a symbolic still life (a folded linen, a candle, handwritten words).