In 2007 I made Drop Down, a 14 minute duet for a woman and a man, and I can see now that I was whittling movement down to its essence. I wanted to express the most through the least, getting rid of anything that felt extraneous.
I began making Drop Down soon after I premiered the 50-minute quartet Wet Road, fascinated by the formal efficiency of tango. Likewise, Drop Down was built with a laser focus attention on detail, inflection and making every movement about communication. This duet helped me refine my essential choreographic qualities: emotionalism channeled into form; sublimated heat and violence; a fascination with percussion, efficiency and direct communication.