My first experiments were with a cheap high-speed camera. I filmed my wife and another member of her company dancing in our living room. I saw a mysterious quality of motion; they saw technical imperfections. They immediately began to “fix” their movements and try the shots again.

At that point I realized I would need to use a digital medium for this project so that I could repeat sequences as many times as necessary.

Where did you get the dancers?

I flew in dancers from the four corners of the earth: Russia, Africa, Thailand, India and so on. Each dancer shown in this piece is a master practitioner of the dance forms they represent.

What attracted the dancers to this project?

I am very much a part of the dance community through my wife. I never had to go more than two degrees of separation to contact the dancers about the project – whether it was a Maori dancer, a break-dancer, or a Javanese court dancer. Dance is under-appreciated and the dancers were attracted to the idea of promoting their craft. For some of the less well-known dancers, this may have also offered increased exposure to new audiences.