Her integrated curatorial practice focuses on developing sustainable creative formats and new narratives in the performing arts, with a growing interest in experimental practices and hybrid formats that resonate politically and socially. An advocate of an artist-centered vision, she promotes deeper engagement with dialogue, work ethics, and equity, undeterred by institutional pressures. Her motivation lies at the intersection of curatorial, organizational, research, and educational practices, consistently blurring boundaries between disciplines, nationalities, and hierarchies, and approaching her role as a curator as that of a facilitator.

She is experienced in both the independent curatorial scene and the institutional field, with several years working as a programmer, artistic director, and co–managing director. This dual perspective enables her to navigate different models of artistic production, governance, and infrastructure while advocating for contextual and long-term approaches. Her curatorial practice is interdisciplinary, spanning theatre, dance and more hybrid formats, and extends from small venues to large-scale stages (up to 800 seats), across both seasonal programming and festival contexts.

For her, curation is an act of hospitality. Risk becomes a form of responsibility, and diversity is not treated as a checkbox, but as the lived reality of a plural cultural ecosystem. Her approach privileges long-term engagement and accompaniment, cultivating sustained relationships that allow processes, maturation, and transformation to unfold. She embraces a pedagogy of friction, creating contexts in which disagreement, contrast, and difference can be generative, rejecting self-censorship and inviting the encounter of perspectives, sensitivities, and contradictions as central to artistic practice and collective learning.

In 2025, she co-founded SUPERNOVÆ with Natalia Álvarez Simó (ES), a consulting and curatorial platform advocating for good practices in programming, including artistic and strategic consultancy for Cullberg, in Sweden, among others. In 2026, the pilot edition of MULΛ, will take place in the city of Porto — an independent hybrid disciplinary festival that brings together several independent venues, transforming the idea of a festival into a convivial experience from sunset till dawn.

Since April 2025, she is the Artistic Director of Materiais Diversos (PT), one of the most significant independent structures accompanying artists’ trajectories in Portugal over the last 20 years, as well as its festival. Additionally she takes over as the coordinator of the Artistic Research Module at ArtEZ - Bachelor in Arts / Dance Artist.

During her tenure from 2018 to 2024 as curator and later Artistic Director at Teatro Municipal do Porto, DDD – Festival Dias da Dança, and CAMPUS Paulo Cunha e Silva, she left a transformative legacy. Highlights include launching the CAMPUS residency center in 2021, expanding the institution’s reach, and fostering the institution’s international collaborations.

Her influence extends beyond curatorship: as dramaturg for Marco da Silva Ferreira’s latest creation F*cking Future (2025); as a juror for the Portuguese Performing Arts Platform (2023 and 2025), the La Caixa/Espaço do Tempo Creation Grants (2023-2025); and as a nominator for the SEDA – Salaviza European Dance Award by the Calouste Gulbenkian Foundation.

She has been teaching internationally since 2010 in various institutions, studios, and European universities. Although this activity has gradually diminished as her focus shifts increasingly toward curatorial practices, she continues to share her pedagogical approach on selected occasions. As a choreographer, she views her work as an act of resistance and affection, delving into themes related to social and political movements and their interaction with the performing body within the intimacy of the theater. Her work is featured in the Portugal que Dança series on RTP2 (Episode 02).