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No one knew Aeryn could dance until someone put on break dancing.
Now, wrapped in her own world, she shakes her upper body,
picking up the beat with her shoulders, rhythmic hand movements,
and tapping feet.
I like break dancing the best.
I like doing it fast.
I really like fast stuff, like my dad.
She responds to the change of tempo by expanding her range of movements,
adding in weaves and circles and using her shoulders
to express the increasing urgency of the beat.
I like the pump.
I like the fast pump.
When you do the fast pump, I get faster and faster and faster.
I just don't like really, really slow stuff.
Aeryn knows what makes her want to be creative,
and can express her preference for the types of music to her teacher.
You know you were talking about hum in break dancing?
Can you hear a hum in the ballet music?
What can you hear in the ballet music?
I can hear, always...
All the times that it always comes on.
Except the break dancing. But I like the break dancing best.
We should do that every day.
But when I put the ballet music on, I never saw you dancing here.
Cos I didn't want to.
I just don't like really, really slow stuff.
And why do you like break dancing best?
- When the drum... - You like the drum?
- And what else do you like about it? - Fast.
- It's really fast. - Because I like running fast.
My dad's an artist, as well. That's one I've done, that drawing.
My dad's a really good drawer and I like to copy my dad.
Have you got any more paintings in this room, do you think?
I've got one there.
Which one do you like best out of those two, Aeryn?
Which one are you really, really proud of?
- That one. Why? - Because I like thick stuff as well.
What do you mean by thick stuff? Is that what you said?
- Yes. - What do you mean?
- I'm not understanding. - That's thin and that's thick.
Aeryn is well able to express her interest in different forms of marks.
Like contrasts made with colour,
thick and thin lines, dots and strokes.
Aeryn carefully considers as she paints.
Her choice of colours is precise.
I'm going to mix this with that.
She handles her paintbrush skilfully.
The symmetrical pattern of the moth's wings emerging
as she gives it detailed study and marks her painting.
Delicately pointing the tip of the brush,
she makes small marks.
And the humming, it's the break dance still in her head.
Each set of symmetrical marks is critically assessed
for effect and accuracy.
And then a change of technique,
using the brush flat to make short, fat lines
to capture the head of the insect.
After close observation, she mixes the exact colour she wants.
But as the work develops, she spends less time painting
and more scrutinizing the effects of her marks.
Throughout, her attention to the symmetrical detail is breathtaking.
The mark on the right always getting its match on the left.