fine motor tells a story of development and discovery, centered around themes of love and individuality. It follows the story of a young girl, Harper, who is targeted by her peers and longs for escape and acceptance. She dreams of deep, true love, but can’t find it. This changes when she moves to a busy city, where she discovers her love for Solomon. Her presence balances Harper’s, and the two become a strong pair. 


As I was thinking of a title for this piece, fine motor struck me as a phrase which could encompass cooperating meanings and imagery. The term “fine motor” is most commonly used to describe movement; in contrast with gross motor, it is the next stage in development as one gains control of detailed movement. In this way, the phrase seemed to evoke a sense of growth, and a growth into nuance and detail. This is mirrored in the story as well as the movement, as I often use small twitching movements to create a sense of otherworldliness. Further, the word fine can also be used to describe important objects, like fine china. In this case, this fine motor, the body of our main character, should feel precious and delicate, needing to be valued and protected. 

dancers:

sejal janaswamy

elly o’connell

emily hain

grace price

kale jette

anjuli paul, ava beller, bri fuller, catherine payson, delaine tyler, ella snavely, eva bendesky, kate deschler, lilly mozie, lucy schultz, madeline muth, mia nelson, rebekah wolfson-kilayko, sarah yoak, stella fraser, tiffany yang

tracklist:

björk/ all is full of love

arca/ faggot

max richter/ infra 1

underworld/ and the colour red

alva noto/ duoon

max richter/ dream 1

aphex twin/ #13

aphex twin/ tha

björk/ all is full of love (homogenic) 

orbital/ halcyon + on + on

opus iii/ it’s a fine day

costumes

I designed the costumes for this piece myself, and created them by both embellishing pre-made pieces and constructing custom pieces from scratch. I wanted to evoke a sense of retro-futurism, specifically inspired by the minimal, sleek, and subversive styles of the late 1990s. These costumes first appear as harper enters a new environment, the city, so I wanted to capture the surreal and disorienting feeling of being somewhere new. These costumes play off industrial elements, featuring a mostly grey-scale color palette and subtle flashes of metallic silver elements. There are also carabiners featured on many of the costumes, a symbol of queer identity dating back to the 1970s, as well as a repeating dot motif inspired by black frit found on many metropolitan windows.