My mother is Irish and my father is German. Due to their separation when I was 7 and my mothers flourishing career as an oil painter; we left Frankfurt, Germany, to go to Dublin, Ireland. From then up until I was 18 and moved to London to go to Drama School, we relocated a few times, from Germany and Ireland to France and England. I now find that as a consequence of my experiences I cope with life as an actor and poet quite well, as oppose to feeling insecure as a result of the instability of working life, I find security through that instability; primarily because it's what I've been used to. Performance is my life! Creating art is the basis of my existence. I find that I must create in some way in any given day to remain sane, whether that is through acting, character work, practising accents/monologues, poetry writing, poetry performance, or dancing. It's like an itch that constantly needs scratching, there is no cessation in the need to do so. Afterwards, there remains the most incredible sense of peace and tranquility I have ever known. I have an insatiable lust for life, knowleadge, and creativity. Some aspects of my personality are that I am extremely fearless, spontaneous, dedicated and tenacious. After completing Drama School in July 2005 I started to get full time individual acting coaching classes with Ex-RSC Director Barry Baker. Since then I have maintained this training bi – weekly and have done several film and television productions. After 1 year of intense, unresistant hard work, I have recently secured representation with London Acting Agent Bill Ellis, A & B Personal Management. The way in which I work as both an Actor and Poet is very precise. The most important aspect for me is to initially view 'the whole', having knowledge of the whole I then break it down into minute individual parts and proceed to work on each part. 1. Poetry and Writing. When writing I attempt to condense a whole idea into as few words as possible so that my work is extremely dense. 1 word can can make all the difference!!! This also allows me to incorporate more ideas into the piece. Sometimes the words just come to me, other times I might work on 1 sentence/ word for hours and simultaneously choose whether alliteration, assonance, dissonance or some other literary tool should be included. 2. Acting. There are many aspects to Acting so I'll just concentrate on script work for now. Always bearing in mind 'the whole' and its subsequent components. This is purely technical, the emotion comes afterward. I will break down each paragraph, each thought, each sentence, then most words and translate their meaning physically. For as we know 80 percent of what we say as humans we say physically through body language as oppose to verbally. I will then exaggerate this physicality. Through doing so it gives the actual word I'm working on a lot more weight because after repeating this many times my muscle memory remembers what I did physically for that word. I can then minimise or take out the physicality completely and the word will still remain as forceful. So it translates from body/muscle memory to the brain and out through voice with all the meaning and emphasis intact. I also use this for poetry, and attempt to not physicalise much so that there is more intensity in the words. This only works after going through this process. It does however, make it a lot easier to handle scripts/poems at a cold reading because I have a database of knowledge of how to work already in my mind. I firmly believe the difference between an actor/poet with innate talent who is good, and an actor/poet with innate talent who is great is the long hours of sheer hard graft one puts into one's work. I certainly do that.