Hey there.
My name is Nico Brown.

I moved to Brooklyn from southern Illinois.
I make dances, usually solos, that address my relationship to landscape, queerness, my love of ballet, and formal composition.
These things converge in my work.
I'd call myself a minimalist.

My dances have been presented at
Jacob's Pillow Dance Festival Inside/Out,
New York Live Arts,
La Mama Experimental Theater,
Gibney Dance Center,
Brooklyn Arts Exchange,
Links Hall (Chicago),
Peiter Performance Space (Los Angeles).
I recently presented a solo in collaboration with music artist Fischerspooner during a sold-out concert at Brooklyn Steel.

Sometimes I perform for other choreographers, including Jon Kinzel, Jennifer Monson, Cat Galasso, Renée Wadleigh, and Wally Cardona + Jennifer Lacey. 
I'm a regular at Movement Research at the Judson Memorial Church, and I study ballet with Janet Panetta. 

I am increasingly interested in photo and film.
Recently I performed in Fischerspooner's music video for TOP BRAZIL.
I have collaborated with photographers and visual artists including Ryan Pfluger, Richard Haines, Dusty St. Amand, Charlie Engman for Dazed Magazine, and Jordan Geiger for Wolfy Magazine.

MFA in Dance
BFA in Theatre Stage Management
Both from the University of Illinois at Urbana-Champaign. 

a powerful dancer with strong ideas.
— The New York Times, 2015

Thoughts about making dances

I am currently negotiating my affinity for minimalist aesthetics
against my love of big, extravagant dancing. 

My work uses minimalism as an element of design, both within my movement material as well as the choreographic structures I create. Here, formalism is a vehicle for abstraction of landscape and time.

I draw inspiration from my experience growing up on the flatlands of rural Illinois—a place of profound space and expansive horizon. This sense of distance resonates in my choreography as I consider the temporal layers of my work. I often place highly nuanced and fleeting sections of movement material next to durations of stillness. In my dancing, I interrupt complex, obsessive geometries with moments of physical release. Movement sourced from my love of ballet—including strict verticality and romantic gesture—are executed with brute aggression. The result is something contradictory: a dance that attempts to hold together disparate shards of movement that are nonetheless meticulously designed and calculated. 

These variations in tone created tightly woven structures that I fill with latent emotionality and Midwestern sentimentality.