came up, Laura invited me to join her as co-deviser for a show of short works. We struggled until the very day before registrations closed to find a conventional venue, then realised our ideal scenario was manysquaremetres, and approached them. How is that space shaping the production? The space has the most immediate impact imaginable- as soon as you enter, you feel like dancing, or at least I do, and the volume and the grid naturally affects how you move. It's a very dynamic, very live space. And every time I walk in, ideas come to mind quickly. For an industrial space, it's surprisingly warm and personal. When we started the project, we felt relieved because we both already had choreographies set and ready-to-go, but once we spent time in the space, that changed completely and we wanted to make more site-specific work. It's been the same with the dancers. The dancers all have distinct personalities, and we both want to work with that, not against it. Tell us about your dancers... We've chosen all the dancers very carefully. We have dancers from the Homemade Dance collective that Laura and I are involved in. We're also working with Geoffrey Watson (recent graduate from Australian Ballet School) and Yuiko Masukawa and Imanuel Dado (both recent graduates from WAPA). For me, the dancers' personality is definitely the starting point of making works. Tell us about the name... We wanted a name that was broad enough to not impinge on the diversity of