I am fascinated by the idea of bodies falling through time.

For me, dance is rooted in the mystery of how we live in our physical beings. It is an ongoing investigation of perception, both of dancers and audience, and based on how, in the end, all human experience is felt through the senses. With lives increasingly mediated by various technologies, art which focuses attention back to the completeness of how we live in our bodies becomes ever more essential.  I draw from a broad range of influences, musical, literary, social and scientific, all used to point back to our bodies, what they can tell us of ourselves, and how they can affect us.  
In kinetic terms, I am curious about dynamics and momentum above all, and the play of rhythm that is the constant result. I explore a consciously wide range of movement, and focus on the layering of that range and the interplay of different dimensions, particularly in the realms of scale, different modes of moving, and the way time is felt.

Individual works are based on questions about things I find mysterious and compelling. Through finding some preliminary answers, I develop root concepts, and discover more questions and unknowns further down. With my collaborators, dancers and others, the process of generating a piece becomes a kind of communal archeology, all of us looking for shards and hints that can help lead us to a world we can all commit to. And it is the collisions of our points of view that continually reignite the investigations, and clarify the underlying concepts.
Although I have a very strong sense of the direction of the search, the shape and the movement of a work develop in the studio through a continual back and forth between the dancers and myself. Their sensibilities and imaginations are as essential to the process as their physical abilities. Everything goes through an ongoing conversation that includes given movement, individual re-invention, task based exploration, improvisation, and the focusing or culling of the material that emerges. The entire process is, in its very essence, about the act of dancing, as an investigation as much as an expression.
In the distant past, dance and dancing were used to confront the unknown and dancing was looked to for its uniquely intimate and visceral qualities. Now, in a very different time, my goal is to uncover that kind of porous, articulate and powerful dancing, and it is still those frontiers of the unknowns in our own experience that fascinate me. I endeavor to make work that bears palpable witness to our lives on the edge of the unknown.

Colin Connor