About
This is a quiet practice, shaped by breath, form, and restoration.
I came to movement through injury — not in search of stillness, but of repair. What followed was slower than expected, and more enduring than I imagined.
In time, the movements became less concerned with correction and more with attention — not only to the body, but to breath, rhythm, and the spaces between.
That listening now shapes all of my work: in movement and stillness, in sound and silence, in the quiet disciplines of breath, form, and rest.
My practice lives at the meeting point of discipline and rest, form and intuition. It draws from classical yoga, pilates, breathwork, and meditation — supported by studies in sound, therapeutic listening, and a quiet devotion to contemplative practice.
I work with gongs, crystal bowls, and meditative sound as ways of softening awareness and restoring rhythm. Intuitive readings may also form part of this process — quiet ways of sensing what words cannot always reach.
The work I do is quiet, personal, and shaped by rhythm more than routine. I offer one-to-one sessions, often in the stillness of my clients’ homes — a private practice in breath, movement, and return.
On certain days, I offer sessions within discreet spaces — held in calm rooms at KX and Surrenne. And for those who seek a shared rhythm, I hold open classes each week at KXU.
For those practicing at home, The Studio offers a digital room — sound, stillness, and simple rituals to return to in your own time.
The practice I share is breath-led, adaptable, and rooted in classical forms.
It has been shaped by years of study, therapeutic listening, and quiet repetition.
At its heart is the wish to hold a steady, unpressured space — where bodies, experiences, and abilities are met with care, and where presence is valued above performance.
Sessions unfold with a balance of precision and softness — offering a space for rhythm, for form, and for quiet return.
The approach is grounded in dedicated study across yoga, Pilates, sound, and therapeutic practice.
Training includes a 500-hour certification with Sri Dharma Mittra in New York, with further study in Jivamukti, Yin, and pre- and postnatal methods — under the guidance of Sharon Gannon, Norman Blair, and others.
Pilates practice has been shaped by time with Equinox (US), STOTT, and Karve, with continued focus on equipment and apparatus-based forms.
In sound, studies in crystal bowl and gong healing were undertaken through Triyoga and the College of Sound Healing.
Current work includes a Postgraduate Certificate in Psychodynamic Therapy at the University of Oxford.
Earlier training in fashion design continues to inform the tactile and material aspects of the work, which remains rooted in quiet attention, contemplative practice, and ongoing refinement.
And when the season allows, I work in cloth. The same rhythm continues through modest forms — quiet, tactile, and slow. Expression shaped not in language, but in texture and form.
These garments are made slowly — in rhythm with the seasons, the body, and the in-between hours of the day. Designed for presence: for breath, for walking, for the quiet return home.
I work with soft structure, natural materials, and simple forms — pieces that hold the body lightly and create space for listening.
Cloth, like movement, is a kind of language.
A way of paying attention — to texture, to rhythm, to what is felt before it is seen.
This is the quiet work of restoration — a return to rhythm, and to the self beneath performance.
### 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).