Born in Switzerland, Lara Fournier started to develop her passion for dance at an early age. Established in London since 2016, she got awarded a Bachelor of Arts with Honours in Ballet and Contemporary Dance at the Rambert Ballet and Contemporary Dance School, where she had the opportunity to work with a diversity of choreographers, amongst Kim Brandstrup and Julie Cunningham. 

Involved in Christopher Thomas’ creations since 2018, she had the pleasure to perform ‘Blood Thicker Than Water’ for the Resolution Dance Festival 2019 at the Place. As part of the Young Associates Programme, she also performed ‘To The Ocean Floor’ for Christopher’s main stage production at Sadler’s Wells the same year.

Genuinely attracted by choreographic experimentations, she had the opportunity to initiate the very beginnings of a movement research, based on the vulnerability of Human Interaction(s). Indeed, her first work ‘Human Interaction’ (2018) has been performed as part of the Design for Dance Festival at Central Saint Martins Theatre. She is currently working on a second piece, ‘No Speech for Emotions’, already presented at the Lilian Baylis and Anya Linden Theatres in July 2019 and that she wishes to pursue. 

In October 2019, she took part to the ArtsCross Project in Beijing, in collaboration with the University of Middlesex, the Beijing Dance Academy and the University of Taipei, where she danced for choreographers Amir Kolben and Joy Alpuerto Ritter.

Lara recently performed Us, You, Me, Living ? at The Place Resolution Dance Festival 2020, under the collective Collateral Damage that she co-founded with Llewelyn Lewis, producing a tight collaboration with poet Cindy Fournier and photographer Beatrice Belletti. Portal to the Absurde to be found here.

Highly interested in any art forms, she has collaborated with a variety of local and worldwide artists, and is currently based in London for further cathartic experimentations.

Perhaps, it is a matter of life, a matter of death, but it remains mostly between the melancholia of the fleshes.


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