When I first saw Claire's paintings, I was struck by a kind of universality, at the same time that they strongly reminded me of Slavic fairytales. 'Look', I said, 'there's the firebird and he wants the viewer to follow'. I could see the characters very clearly even though other people surely saw something completely different. A great fairytale is both universal and specific.
The setting for the project, a huge Soho loft that had been presented to Claire by the kindness of strangers, put us all in a great mood. It was like a dream of what New York art life should be.
The method, painting by dancer, reminded me of memories made of physical movement: treasure maps, battle plans, peak sexual experiences. In the improvisation I moved around an internal map of conflict and union. It was thrilling to see the dancers respond to my music and I tried to be as responsive to them as possible. I could tell we had all succeeded by the great feeling of closeness afterward, dappled by joyful laughter. We had created an intuitive and caring balance of power, a real harmony that transcended any of the elements physically present.