Surrender to Dance. Do not appropriate it. Art is revolted if you try and own it. You can only touch it, fleetingly, and never catch it.

Like a galloping horse, his strength and his truth are the heritage he carries and integrates into his body. That skinny body, like a Giacometti humanoid. Nomadic and curious about life, he puts himself at the service of a dance without a name. The gestures that run through his life come from far away. He reduces, reuses and recycles movements, and material. Memory and experience prevent him from being absorbed into one single path, they allow him to orient his search and direct his dance towards diversity.


He also likes to upcycle this mixture, playing between improvisation and composition, between the formed and the formless. Asking questions like: how do these two poles dialogue? Where is the balance for me? Asking the questions in the very movement itself.


All this is carried on belief. Pau Aran believes in humanity, its power and honesty through movement. He believes in dynamics, surprises and changes, three levels of searching. He believes in our dance ancestors, who trod the path and showed the way. He believes in water, breath, fire and the earth.


Pau Aran plays with all this in his use of extremes, opposing poles in space and time, oppositional but brought together, going their separate ways at the same time, bound by their relation within space itself.


Spiralling forever apart and back together in the presence of the dancer, in the dance. A dance which is at times extreme at others minimalist, pedestrian, small and refined. Where success is defined through an embodied understanding of oneself, of each other, of this moment in time.