Alexa Wilson’s career as an experimental choreographer spans not only a decade but a multitude of disciplines – having crafted works in performance art and video. Her latest avant-garde dance work, Toxic White Elephant Shock, satirically layers theatricality with dance, film and sound.

“I aim to push boundaries into unknown territory in NZ choreography by not only working from a multi-layered conceptual framework which is often challenging and political but by experimenting with and across art forms to find new languages for musing on topical ideas. It's brought me closer to myself and others.”

Alexa's recent work looks at how the world around us is suffering under the strain of increasing political, social and environmental pressure. It is experiencing toxic shock. The impact of this shockwave is mirrored in the disturbing physical and mental state of the people.

During what hours of the day do you feel most inspired?
Late morning and then again at 10pm-2am.

How would a good friend describe your aesthetic or style?
Anarchic, eclectic. Bold. Layered. Clever.

What aspect of your creative practice gives you the biggest thrill?
Performance.

How does your environment affect your work?
Massively. There are many different processes, the conception happens randomly, inspired by life, I write in a cafe often. Talking is another process, intimately. Choreography happens in a studio, which if interfered with constantly creates fragmentation. People's emotional issues also are another environment or culture which shapes my work, it is a fact of life when working closely with human beings creatively.

Do you like to look at the big picture or focus on the details?
Both. I start with the bigger picture and have a lot of detail which ripples into the larger concept and sometimes takes it over. I try to keep tabs on that. Microcosm/macrocosm are the same thing effectively.

What's your number one business tip for surviving (and thriving) in the creative industries?
Being tough and being passionate. As sensitive beings able to tap into shit beneath the surface it can be hard not to be affected by criticism, judgment or tall poppy syndrome. You need to weather the bad times and keep focusing on the positives. It is a privilege to make art. Good friends are also a must.

Which of your projects to date has given you the most satisfaction?
Site Specific work with Unitec students at former Carrington Hospital. I was fresh back from a European holiday and they were a dream to work with. We created something awesome with integrity and minimal dramas. It was a stand alone project!

Who or what has inspired you recently?
Matt Brennan, my music collaborator has inspired me a lot lately, in his own personal shows, he is so multi-talented and goes next level every time. Though he doesn't believe me when I say it sometimes.

Describe your recent work Toxic White Elephant Shock.
It's a challenging journey, mapping toxic political, emotional and social landscapes onto the body. It's somewhere between organic and cultured. It should be humourous in moments, intense in others. Maybe beautiful. I think someone said ugly. Good. That's life. Real.

What does the work explore?
Our aim has been to find an authentic bodily response-abililty to our own need to detoxify and accept ourselves, our communities and the world we live in. An ambitious and intense process and work, which hopefully achieves what it sets out to do. We aim to transform these situations into acceptance mainly. Letting go of the shit that isn't important.

Who is composing the music, what does it represent and why is this an important part of the work?
Matt Brennan does live beatboxing, metal, singing and soundscapes on stage. In the rainbow spectrum he symbolises the root/red chakra, connection to community, the earth, grounded. Charlotte 90's composition reflects the crown/pink chakra, and is transformative and transcendent. No for reals. Both bring beauty and life to the dance as music tends to.

How does your work as an ‘experimental choreographer’ differ from standard choreography?
I aim to push boundaries into unknown territory in NZ choreography by not only working from a multi-layered conceptual framework which is often challenging and political but by experimenting with and across art forms to find new languages for musing on topical ideas. It's brought me closer to myself and others.

Tell us about your residency with Lemi Ponifasio.
It's been a journey. Negotiation of cultural and physical space is where the world's at. It takes effort and humility. I am very thankful for this opportunity.

If you could go back and choose a completely different career path to the one you've chosen, what would it be?
That's a big question. This has to be one of the toughest career paths to choose. But there is no other career for me. This is it. Maybe another art form, I like writing. Film. But even filmmaking is a hard career. Maybe with a little more recognition, but even more cut throat.

What place is always with you, wherever you go?
Waiheke Island and the Waitakeres on Auckland's West Coast. Also the Hokianga, up north. Infact the whole of Northland.

What's the best way to listen to music, and why?
Loud. Because then you can dance to it. Of course!

You are given a piece of string, a stick and some fabric. What do you make?
No idea. I'm clueless. Maybe some better fuel options.

What's the best stress relief advice you've ever been given?
Go to the beach.

What's great about today?
It's a sunny day with a breeze running through it. There are Magpies nearby chatting.

What’s great about the MAU Forum 2009?
It keeps it real. It brings together artists intenationally and locally with a multi-cultural and political focus. They push for excellence and innovation. Woah that sounds so CNZ but true!

What’s your big idea for 2009?
My big idea? Get to Berlin. I'm going. Bought my ticket. Do what you want to do, be who you are. Be free.

• Toxic White Elephant Shock is on March 17-18 at the MAU Theatre, Corban Estate, Henderson, Auckland.