With my choreographic works I wish to give the audience a strong sensual experience of supposedly well-known aspects of social interaction. I'm wondering how social interaction can be experienced from a sensual perspective? How can I seduce the audience to indulge in the sensuality of the ordinary and the daily. By creating a sensual disturbance of the well-known I want to propose an alternative experience of movement in our daily lives as moving beings. Currently I'm exploring the notion of control which I perceive as paradoxical in our society. I observe on one hand the wish to control the image we give of ourselves and at the same time a strong search for ways of letting go of that urge to control. Strong expressions of emotions, like laughter or crying, are losses of control going along with quite dramatic bodily expressions, which can make us lose face in a social context. My work encourages the celebration of those moments of losing control – it's those that make us human, that invite for empathy and compassion.

Her latest solo The Laughing Game (2020) is a choreographic research of laughter. Antoinette unfolds laughter as social communication, bodily state, stirring sound and sparkling sensation into an aesthetic, sounding and thought provoking encounter with laughter. 

Her solo I'm nothing, but I could be anything (2015) explored the roles of dream of the future during lifetime. The piece toured Denmark, Greenland and the Faroe Islands. Following the tour Antoinette created together with film artist Jan Vesala the movie “Re-Dream” with the stage work as base.

As Resident choreographer at the Trilogy Project in Groningen (NL) she created the duet How to be/loved – Perspectives (2013) which has toured the Netherlands, Russia, Slovakia, Sweden, Denmark, Norway and Philippines. Her curiosity was to unravel the complexity of family relationships – exploring the difficulties of closeness and to physically research the possibly confusing signs of love.

Next to creating her own works she works as choreographer in commissioned work for example for Åben Dans and as choreographic mentor for MYKA, Daily Fiction and Cikaros.