My artistic creations embody my political and social commitment, rooted in in-depth reflection on both content and form. Each work is born from a questioning, an intention to engage in dialogue with the world, and above all, a desire to convey powerful messages. I believe that puppet theater, as a hybrid form of expression, allows for the treatment of complex subjects—whether political, social, poetic, or philosophical—in a subtle and accessible manner, while allowing for great creative freedom.

This desire to enrich the meaning of my works has led me to surround myself with contemporary authors and poets, who enrich my creations with their sensitivity and unique perspective on the world. These collaborations are essential to my work, as they bring a literary and emotional depth that allows me to anchor my creations in a contemporary reality. By drawing on contemporary poetry and prose, I strive to address important societal issues such as war, freedom, and identity, while proposing answers that pass through imagination and emotion.

My first creation, Vané , explores the work of the poet Radovan Ivsic for whom the quest for the marvelous is confused with that of freedom and that neither can have an end, to whom I dedicate a cycle of work The Weight of Words and the Force of Dreams .

One of the aspects that deeply defines my artistic approach is my curiosity and openness to the traditions of the countries and regions where I work. Every encounter with a new culture is an opportunity to learn and integrate elements specific to that culture into my works. For example, during my stays in the Balkans, I was fascinated by Karagöz shadow theater, a folk art form that combines humor, social satire, and ancient traditions. I have produced several shadow theater projects, such as the show The Swindlers , freely drawing inspiration from this comic and biting style, which allows me to criticize society while creating a direct connection with the audience. I also collaborated with director Blerta Neziraj on the shadows for the show The Collapse of the Eiffel Tower in Kosovo.

In this same region, I created the show for young audiences La Vallée aux pommes , presented on tour in Albania, Kosovo, Serbia, Ukraine, Tunisia and the DRC, which addresses the fate of children during war, a poignant and universal subject that finds a particular resonance in the history of these countries. Through this work, I wanted to give a voice to those whose suffering is too often forgotten, using the puppet as a powerful vector of emotion and memory.

In Ukraine, my work has been largely influenced by the tradition of Vertep, a traveling puppet theater of religious origin. Vertep, once used to convey narratives, is a powerful medium for expressing contemporary stories of resistance and hope. My performance , Maidan Inferno , inspired by the Euromaidan revolution of 2013-14, was loosely guided by this heritage, using puppetry as a tool for reflecting on political and social struggles.

My creations are thus rooted in multiple cultures, and I consider this anchoring to be an inexhaustible source of wealth. Through my works, I seek to pay homage to local traditions while infusing them with a contemporary dimension. This fusion of the traditional and the modern allows me to reach a diverse audience, in which each can recognize an element of their own culture or discover foreign traditions.

This intercultural approach is also reflected in my multilingual work. I have often created multiple versions of the same show in different languages, in order to make my creations accessible to diverse audiences. Adapting a show into a different language is not just about translating the text; it is an exercise that requires rethinking how to communicate with a new audience, immersing oneself in another culture, and adapting the visual and symbolic elements so that they make sense in this new context. This adaptation work allows me to broaden the audience for my works and to forge links between cultures often perceived as distant.

In short, my creations are part of a committed artistic approach, where form and content are nourished by my political, social, and cultural reflections. Through literary collaborations, the integration of local traditions, and multilingual work, I seek to open spaces for dialogue and reflection, where puppets become a bridge between cultures, ideas, and peoples.

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