Celebrated for her unique blend of high glamour and daring performance. She was discovered by (the late) Franco Dragone who she considered a friend and mentoour and thanks to his belief in her uniqueness has graced prestigious stages worldwide, including Dragone's 'Taboo', the Lido de Paris 'Paris Merveilles' show, Roncalli Apollo, 'Oh La La' show, ‘The Biggest Christmas Circus in the World’ -Weltweihnachtscircus Stuttgart and sister show Wereldkerstcircus Carré, Flic Flac and the famous icon of traditional circus's - Circus Krone Bau.

Notably, she pioneered the world's first aerial sword swallowing act to be accepted into an international and industry recognized circus festival at the Festival Internacional del Circ Elefant d’Or in Girona, Spain (March 2023)

Beyond the stage, Lucky Hell's striking visual presence has made her a favorite in media interviews and promotional spots, with features in various magazines and newspaper cover stories. Countless magazine covers, features, tv appearances and even movie roles and acting as an expert consultant on a major feature film (8-Ball, 2013 Aku Luohimies)

Her social media presence is substantial, boasting over 120,000 fans on Facebook, 70,000 Instagram followers, and 30,000 YouTube subscribers. Her YouTube channel, created in 2011, showcases her sword swallowing skills alongside Q&A sessions and makeup tutorials. Despite not coming from a traditional circus or dance background, Lucky Hell has established herself among the most well-known cabaret and circus artists of her generation, redefining the art of sword swallowing on major stages worldwide.

I never set out to be a sword swallower. Hell, I never really set out to be anything. I grew up a little outside the norm and very much inside the system. I lost both my parents just before my early teens, bounced around until, at 16, I officially wasn’t anyone’s problem anymore. It wasn’t fun, healthy, or safe, but considering what some orphans go through, I consider myself really lucky there.

I didn’t aspire to be a circus artist or any kind of artist.  I didn’t think I was or could be an artist until my second year performing at a high professional level/company because i can’t draw all that well and I failed art in school. 

I was however, always drawn to the edges of things. Anything that felt different, defiant, or just outside the realm of what was accepted.  

Taboo. 

Even the word itself was so alluring to me growing up.  It sounded like the occult, like witches, like sex, drugs n rock n roll and like the word naughty all rolled into one and I guess it kind can describe any and all of those things (funny that the name of the first big break in performing was a Franco Dragone production named, Taboo)

Being alternative naturally evolved into being experimental with that alternativeness - performance, performance art, fakirism. The early internet, in all its weird, unfiltered glory, connected me to people who were doing things I had never imagined were possible. I saw others who had taken their own strangeness and made something of it, turned it - not just into an art - but what seemed like a legitimate life, a way of existing in the world that didn’t require fitting in. This ‘revolutionised me’ (in my cute little, meaningless life, way)  It was fuel at the very least.

Maybe that’s why I was drawn to the taboo. It wasn’t just rebellion for rebellion’s sake, it was a way to carve out certainty in a world that felt unsteady. If nothing felt solid, why not lean into the things that weren’t supposed to be touched? Fear and uncertainty were constants, but instead of running from them, I found comfort in the extremes, in the things that unsettled others

Uncertainty and fear have always been apart of my life, but they don’t feel like motivators. More like simple facts, like gravity or hunger. Instability was my normal. A lack of real footing, of any clear path forward - that was a real fear, but not the kind that makes you run and for me, wasn’t the motivator kind either.  It was very neutral actually, almost as if it was just woven into the fabric of things. Maybe that’s why I never fought to escape it, but I never fully accepted it either. Instead, I learned to exist in the in-between space - somewhere between surrendering to the way things were and rebelling against them

Otherness is something I feel shaped me more than fear or uncertainty did (although now it feels somewhat like the inverse yet at the same time - tbc w/ my therapist though...)

I was always an outsider, first in my family, then in the system, then in whatever social structures were supposed to follow. I was awkward and over-the-top at the same time, probably as a way to cover the mess and loneliness that enveloped my insides. There’s a strange duality in being different - not just feeling separate from the world but by wielding it like at weapon at the same time.

It’s easy to lean into the role of the outcast, to turn it into a shield. I spent years doing that.  Wanting to push back against assumptions but instead harnessing it and making sure I was worse than they anticipated (shock factor I mean not by doing anything in inherently wrong, well, sometimes) I 100% made sure I was very knowledgeable (read; nerdy) in whatever subject made them recoil.  Oh I’m a weirdo, well let me tell you about the Ed Gein biography and why he inspired Texas Chainsaw Massacre, Psycho AND Hannibal Lector!

I think that’s why I’ve always been drawn to contradictions - the tension between solitude and spectacle, between rejecting expectations and playing with them. It’s not about proving something (anymore) oh but it used to be. And there’s power n admitting and accepting your past selves and their little attempts to protect you.  What started as defiance softened over time into something more like self-acceptance. The need to push against the world faded, and what remained was just… me (and a few FTW tattoos :)

I still exist between extremes. Caught between the deeply internal and the intensely external, between owning my differences and craving acceptance.  Maybe that’s why I do what I do, why I built a career around something so physically extreme, so visually undeniable. Maybe there’s something Freudian in that, in the way I’ve balanced my own contradictions by making them my art.

We only realize we exist when we are seen. But I’ve always thought that to exist is in some ways, is a crisis in itself. A confrontation. A dare.  I’ve never been able to shake the feeling that my own existence was a challenge, like to a fight.  Surprise kid, you’re alive! Good luck!

I exist somewhere between resisting the system and longing for acceptance—but on my own terms. Between solitude and spectacle. Between challenging assumptions and deliberately bending them.  Maybe the most radical thing I’ve done is learn to live in that in-between space, without needing to define it too much at all.

"About Me" sections are a funny thing—especially for existential absurdists.

Celebrated for her unique blend of high glamour and daring performance. She was discovered by (the late) Franco Dragone who she considered a friend and mentoour and thanks to his belief in her uniqueness has graced prestigious stages worldwide, including Dragone's 'Taboo', the Lido de Paris 'Paris Merveilles' show, Roncalli Apollo, 'Oh La La' show, ‘The Biggest Christmas Circus in the World’ -Weltweihnachtscircus Stuttgart and sister show Wereldkerstcircus Carré, Flic Flac and the famous icon of traditional circus's - Circus Krone Bau.

Notably, she pioneered the world's first aerial sword swallowing act to be accepted into an international and industry recognized circus festival at the Festival Internacional del Circ Elefant d’Or in Girona, Spain (March 2023)

Beyond the stage, Lucky Hell's striking visual presence has made her a favorite in media interviews and promotional spots, with features in various magazines and newspaper cover stories. Countless magazine covers, features, tv appearances and even movie roles and acting as an expert consultant on a major feature film (8-Ball, 2013 Aku Luohimies)

Her social media presence is substantial, boasting over 120,000 fans on Facebook, 70,000 Instagram followers, and 30,000 YouTube subscribers. Her YouTube channel, created in 2011, showcases her sword swallowing skills alongside Q&A sessions and makeup tutorials. Despite not coming from a traditional circus or dance background, Lucky Hell has established herself among the most well-known cabaret and circus artists of her generation, redefining the art of sword swallowing on major stages worldwide.

I never set out to be a sword swallower. Hell, I never really set out to be anything. I grew up a little outside the norm and very much inside the system. I lost both my parents just before my early teens, bounced around until, at 16, I officially wasn’t anyone’s problem anymore. It wasn’t fun, healthy, or safe, but considering what some orphans go through, I consider myself really lucky there.

I didn’t aspire to be a circus artist or any kind of artist.  I didn’t think I was or could be an artist until my second year performing at a high professional level/company because i can’t draw all that well and I failed art in school. 

I was however, always drawn to the edges of things. Anything that felt different, defiant, or just outside the realm of what was accepted.  

Taboo. 

Even the word itself was so alluring to me growing up.  It sounded like the occult, like witches, like sex, drugs n rock n roll and like the word naughty all rolled into one and I guess it kind can describe any and all of those things (funny that the name of the first big break in performing was a Franco Dragone production named, Taboo)

Being alternative naturally evolved into being experimental with that alternativeness - performance, performance art, fakirism. The early internet, in all its weird, unfiltered glory, connected me to people who were doing things I had never imagined were possible. I saw others who had taken their own strangeness and made something of it, turned it - not just into an art - but what seemed like a legitimate life, a way of existing in the world that didn’t require fitting in. This ‘revolutionised me’ (in my cute little, meaningless life, way)  It was fuel at the very least.

Maybe that’s why I was drawn to the taboo. It wasn’t just rebellion for rebellion’s sake, it was a way to carve out certainty in a world that felt unsteady. If nothing felt solid, why not lean into the things that weren’t supposed to be touched? Fear and uncertainty were constants, but instead of running from them, I found comfort in the extremes, in the things that unsettled others

Uncertainty and fear have always been apart of my life, but they don’t feel like motivators. More like simple facts, like gravity or hunger. Instability was my normal. A lack of real footing, of any clear path forward - that was a real fear, but not the kind that makes you run and for me, wasn’t the motivator kind either.  It was very neutral actually, almost as if it was just woven into the fabric of things. Maybe that’s why I never fought to escape it, but I never fully accepted it either. Instead, I learned to exist in the in-between space - somewhere between surrendering to the way things were and rebelling against them

Otherness is something I feel shaped me more than fear or uncertainty did (although now it feels somewhat like the inverse yet at the same time - tbc w/ my therapist though...)

I was always an outsider, first in my family, then in the system, then in whatever social structures were supposed to follow. I was awkward and over-the-top at the same time, probably as a way to cover the mess and loneliness that enveloped my insides. There’s a strange duality in being different - not just feeling separate from the world but by wielding it like at weapon at the same time.

It’s easy to lean into the role of the outcast, to turn it into a shield. I spent years doing that.  Wanting to push back against assumptions but instead harnessing it and making sure I was worse than they anticipated (shock factor I mean not by doing anything in inherently wrong, well, sometimes) I 100% made sure I was very knowledgeable (read; nerdy) in whatever subject made them recoil.  Oh I’m a weirdo, well let me tell you about the Ed Gein biography and why he inspired Texas Chainsaw Massacre, Psycho AND Hannibal Lector!

I think that’s why I’ve always been drawn to contradictions - the tension between solitude and spectacle, between rejecting expectations and playing with them. It’s not about proving something (anymore) oh but it used to be. And there’s power n admitting and accepting your past selves and their little attempts to protect you.  What started as defiance softened over time into something more like self-acceptance. The need to push against the world faded, and what remained was just… me (and a few FTW tattoos :)

I still exist between extremes. Caught between the deeply internal and the intensely external, between owning my differences and craving acceptance.  Maybe that’s why I do what I do, why I built a career around something so physically extreme, so visually undeniable. Maybe there’s something Freudian in that, in the way I’ve balanced my own contradictions by making them my art.

We only realize we exist when we are seen. But I’ve always thought that to exist is in some ways, is a crisis in itself. A confrontation. A dare.  I’ve never been able to shake the feeling that my own existence was a challenge, like to a fight.  Surprise kid, you’re alive! Good luck!

I exist somewhere between resisting the system and longing for acceptance—but on my own terms. Between solitude and spectacle. Between challenging assumptions and deliberately bending them.  Maybe the most radical thing I’ve done is learn to live in that in-between space, without needing to define it too much at all.

"About Me" sections are a funny thing—especially for existential absurdists.