When my formal dance training in London came to an end, I began performing with various companies, reflecting the multiple interests I held about the body in performance. As the 1980s drew to a close I was embracing interdisciplinarity: rehearsing with Helen Crocker (aerial-dance artist) by day and by night, performing at the Fridge nightclub in Brixton with the multi-media performance company Proj-X. Throughout this time, I was devising and performing with the release-based company, Mobile Image Construction.  It was a fertile period in the arts and for me personally.​ As the 1990s began to rev up I returned to Swindon Dance, performing and teaching with Theatre of Motion under Pete Purdy’s artistic direction. I began choreographing more, becoming Associate Artist at Swindon Dance, where I was commissioned to create new works and formed my own producing company, The Fionnbarr Factory. These years brought exciting interdisciplinary collaborations, tours, and a deepening sense of artistic identity. It was during this period that I encountered Bharata Natyam through dancer Vidya Thirunarayan. Our first collaboration, For Those I Have Talked With By The Fire, marked the beginning of a relationship with Indian classical dance that has shaped my practice ever since. I became rehearsal director with the Bharata Natyam company Sankalpam, choreographed with artists including Dipisha Patel, and Anusha Subramanyam, and received Arts Council England funding to undertake research at Kalakshetra in Chennai, India. My teaching and choreography had led me to find different communities of movers. Discovering integrated dance communities led me to study with Wolfgang Stange of Amici Dance company, work with Jon Herzov on self-advocacy intensives for adults with learning difficulties, and later form Screamboat, an integrated dance company performing across southern England. ​In 1996 I gave birth to my first daughter and our family relocated to Dorset. I began a part-time Masters in Choreography at Middlesex University, whilst working with the dance agency Activate as project co-ordinator, workshop leader and choreographer. Around this time, I set up and ran Dorset’s first county youth dance company, Fishtank.  I became a board member of Dorset Dance and Dance South West and as the world welcomed a new millennium, I became Associate Artist with Dance South West and the newly refurbished, Lighthouse arts centre in Poole. This heralded a fruitful period of creative collaborations for me with commissions from arts organisations, partnerships with writers, filmmakers and performers, all feeding a growing interest in how local stories and bodies shape creative expression. ​When our family relocated to Cornwall in 2005, The Fionnbarr Factory concluded its production of, 21 Tales and I was commissioned by CScape Dance to create work for their Guilty Fingers, Women at War tour. My second daughter arrived in 2008, the same year I began lecturing at Dartington College. After the merger with Falmouth University, I became Senior Lecturer in Dance, on their beautiful purpose-built campus in Penryn. As the decade came to an end the family were on the move again, this time to Oxfordshire. I took up a lecturer post at the University of Bedfordshire, started collaborating as Movement Director with international Theatre Director, Tim Supple working together on several research and performance projects. At the same time, I began a working relationship with Kathak performer, Anuradha Chaturvedi and Drishti dance, acting as Mentor and Dramaturg on her research and productions. Over the years and despite the geographic moves, I had continued to develop my knowledge of the Bharata Natyam form, collaborating on projects with Vidya Thirunarayan and as Rehearsal Director with Sankalpam. Meantime, my academic journey continued apace. I was awarded an MA (Distinction) in Choreography from Middlesex University, investigating aspects of the Bharata Natyam form, and by the end of the decade I had gained a Doctorate from Coventry University. My thesis, ‘Moving Into and Beyond Form: Sankalpam, Bharata Natyam and the UK Dance Landscape’ (2020) examined, through the prism of one UK-based Bharata Natyam company, Sankalpam, how Bharata Natyam evolves within the UK’s cultural and creative ecology. Alongside my creative work, teaching has been an integral part of my career, keeping my practice grounded by enabling me to grow with, and learn from, client groups. To this end, I have facilitated movement workshops and classes and choreographed within many community settings. Alongside my university academic positions, I have also taught and choreographed extensively in schools and colleges throughout the UK. In 2000, I was commissioned by NEAB/AQA to choreograph the GCSE Dance Set Study, later teaching on over 50 INSET days throughout the UK.Today, my work continues to explore the tensions between body and materiality, the real and imagined, the epic and intimate, often drawing on real-life oral testimonies to illuminate worlds of narrative fiction. Collaborating once again with Vidya Thirunarayan and Tim Supple on Lives of Clay has rekindled a fascination with craft as performance - how movement and making entwine. A return to Cornwall in 2022 has opened a wealth of possibilities with hugely talented artists and crafters from multiple disciplines. My current project, Warped Bodies (2024 - ongoing), with weaver Jane Stephens, invites dancers, musicians, writers, weavers and actors into an open field of experimentation and play, to explore the potential of weaving sound, yarn, narrative and movement into new forms of performance. ​Whilst Cornwall provides the grounding for my creative explorations, I still find time to move beyond geographic and virtual boundaries into new territories. Most recently, I have become Dramaturg for Kuchipudi dancer Payal Ramchandani on Just Enough Madness. Kuchipudi is a new venture for me in Indian classical dance. Whilst working in London, Bradford and Newcastle with a hugely talented team prior to a UK tour, I continue to investigate creative possibilities and nurture performance potential from within the artistic communities in which I am geographically and creatively embedded.