To a soundscape of heartbeat and breath created by James Lo, the artists take separate positions beneath the artwork’s canopy, both dressed in wide silk trousers and jazz shoes—Melnick in a tucked white shirt, Mearns in formfitting tank. I have a decent view of Mearns, Melnick is slightly obstructed. They begin with a gentle rock step, forward then back, each keeping her own rhythm. Mearns gathers up her blonde hair to bind it off her neck and red haired Melnick follows suit. Mearns carries herself with a ballerina’s upright posture and gorgeous precision. Melnick, a contemporary experimental mover who has danced with the likes of Trisha Brown and Twyla Tharp, moves loosely, folding and tucking her arms around her torso. The two slowly gravitate toward each other, like they are finding their way in a jungle. I catch a glimpse of Melnick balanced on her sitz bones with her legs piked into the air. For a few beats, Mearns comes face to face with me, balanced in wide second position, arms splayed, close enough for me to touch her. It’s as if I have startled upon the Swan Queen at the lake. I hold my breath.