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Past works 





Coppelia_q -reimagiend in Vienna-


Coppelia_q was a piece once dreamt right after the graduation from PARTS. Upon which she disipated into my dream realm, sometimes whispering back to my mind - forget me not on your balcony- 

In the summer of 2025, I participated  ATLAS – Create Your Dance Trails, a modular residency within ImPulsTanz – Vienna International Dance Festival, designed for emerging choreographers. Under the guidance of Christopher Mathews and through engagement with artists from over 100 countries, the residency provided crucial studio space and critical dialogue that helped refine Coppelia_q into a site-specific short performance version in Vienna.

Coppelia_q began as a quarantine project in 2020, inspired by the monotony of online performances. Spending hours on my balcony, I drew inspiration from the ballet Coppélia, featuring a mechanical doll with limited function, reading and blowing kisses, who captivates a villager unaware of her inanimate nature, resulting in jealousy and a narrative laden with gaslighting, objectification, and loyalty ultimatums.

As woman navigating life in Europe, my practice investigates cultural representations of "foreignness" through the lenses of gender, nationality, and identity. I was particularly intrigued by Coppélia's static femininity, confined to the male gaze, hyper-visible yet stripped of identity. The performance in vienna reimagined these themes; draped in plastic,  the short movie showcasing a domestic room questioning privacy and public spaces, the body in real life coming life after the movie, learning breahting for the first time and failing, moving through the rhythm of a waltz, exploring technical forms, and authentic poses, through female gaze. The work explored the tension between intimacy and surveillance and domesticity within private and public spaces.  ---Explored further in the essay “
On Nudity in Performances” --- 



The ATLAS residency proved invaluable for developing Coppelia_q from a conceptual exploration into a concrete performance work. Through in-person engagement with international artists and access to diverse artistic methodologies, I was able to test ideas in real-time and refine my understanding of how the female body and "foreignness" are performed in public space. The residency's experimental framework allowed me to push the research further, ultimately culminating in a site-specific short performance version created specifically in reference to Vienna's characteristic sculptures in its classical architectures. This marked the first time Coppelia_q was fully realized as a multidisciplinary live performance,  Dancing in front of a self portrative photoseries turnt short movie, transforming from balcony isolation into active engagement with the portraits of city's public spaces and audiences. Through the residency and its photo series emerged the aspect of performing Nude for the first time. The question of the difference between nudity and Naked body was explored in the form of writing of an essay. 









The Search for the Liveness 2021 

Performed at  STUDIO course Graduation showcase 2021, Twitch tv/SleepersDreamers by Pieter Jan Ginckels and Snowlakes 2021,
and will return at the Sweat Festival in September 2021.  
The Search for the Liveness invites audiences to witness two perspectives of reality, one in person and one that is projected. If a Tiktok girl decides to create a duality in what the audiences would see, how would the attention of the audiences split? My research into the power dynamics of virtual and live has led me to questioning what makes an artwork “alive” and breathing. Is it something about the synchronicity of time, space and action that came into influence? The performance serves as an experiment, to test if the performativity of the dancer is enough to be able to connect to both perspectives while highlighting the advantage of live performance.

My research onto the power dynamics of virtual and live has led me to questioning what makes an artwork “alive” and breathing. Or more so, what it is exactly about live performance art that attracts people to go to see shows in person compared to watching performances streamed online, where you could watch an event in the comfort of your own home and your anonymity is optional. There is a tension regarding the depth of experiences you could gain from the show, depending on the platform you attend to. The experience of inhouse audiences feels much more connected to the breath of the performance, and is more sensitive to the certain indescribable “(a)liveness”on stage.




In searching what specifically the liveness was, I understood that it is something about the synchronicity of time, space and action that came into influence. The liveness includes conditions of a group of people sharing a space for a certain amount of time together, witnessing an experience together. Through this way of perceiving the vitality of art, I wondered if these conditions ever came together or have been made aware of in virtual platforms such as Twitch and Tiktok.
As I skimmed through their videos, I noticed that they were directly looking into the camera and the movements consisted of front facing dances, addressing the camera. This made me question their intentional choices they make on their presentation and the unconscious choices that are also apparent.  Are they aware of the perspectives outside of what they see in the camera? Are they intentionally performing for one crowd that lives in front of you and another in the virtual world (Clout)? Are they addressing the camera to create a “live” connection to the virtual audiences?


The Search for the Liveness was inspired by a Tiktok video of a girl, who sobs  while performing a sexy dance, disassociated from her body and yet executing the dance meticulously and still with some sensuality.

The idea of disassociation between the body and the mind is fascinating especially when someone is dancing. Dancing, being a very physical task, the more complicated the sequence is, the more concentration is needed. Can dissociative performativity be a tool to play with when trying to create connection through screen and Audiences IRL(In real life)?


Credits
Concept & performance: Eimi Leggett
Mentor: Ula Sickle
Residency support: STUK - House for Dance, Image & Sound, Studio Zaman
Tiktok inspiration; @reesehardy7












No This is not an emotional piece
2017





How many times a day you tell someone your feelings electronically? Your “I love you”s and “I miss you”s travel out of your device, become code, numbers, fly through the air to another’s device. So turning your emotions into a pattern or series of numbers being repeated over and over. Just a bunch of 0s and 1s in the air.
"No This is not an emotional piece" is a solo creation of 10 minutes, using gestures and materials, repetitions as a coding system of communication. Questioning the overuse of technology and sense of losing the value in expressions that we use everyday.
The creation was commissioned by PARTS for Student performances in 2017, and also later in summer, performed in Tokyo commissioned by The Wells Inc.

Full recording of the piece








I feel very at home in here 2020




 



" I feel very at home in here 2020" is a Balcony performance series that was performed weekly from the end of May until the end of June. What has started as an explicit piece addressing cultural appropriation from a body of a mixed race women through history of movements that the body has. It became a piece instead of confinement, of being different identity behind a screen. the idea of Poly-ness where multiple identity or subject is valued equally as each other.
The piece has since been performed at Artist Commons Gif night at Bourse. The Balcony series was then adopted to a theatre version.

@Theatre Teaser






@Balcony Teaser