His body is his strength and his truth: his heritage. A skinny body like a Giacometti statuette come to life.
A wanderer always curious about life he serves the unnamed dance, the gestures that have been inherited over centuries.
The material, the movement is endlessly refined, reused and recycled. The combination of memory and experience provide a way of keeping the work new and diverse.
He also develops this mixture moving between improvisation and composition, between form and formless.
All of this is predicated on his beliefs: the belief in dynamics, changes and interventions as three ways of searching. The belief in the elements earth, air, fire and water. The belief in following those who trod the path and showed the way: the dance ancestors.
Pau Aran plays with these extremes: polar opposites in space and time moving together and apart, bound by their relationship in space in a continuous spiral. This spiral is in the dance and challenges the dancer.
The dance is by turns extreme, minimalist; sometimes pedestrian, sometimes small and delicate.
It searches for a way of successful connections through embodied understanding of oneself and the other in this moment in time.