Love Quote by Mark Morris

Morris is describing a kind of artistic mischief: building a machine so intricate you only show the audience the clock face. The line lands because it rejects a very modern pressure to make process legible, to annotate the work with grant-speak or behind-the-scenes confession. He admits the choreography is "complicated", then insists the result should read as "clear and simple" - not simplistic, but intelligible. That pairing is a quiet flex. It says craft matters, but the viewer is not obligated to admire the scaffolding.

The subtext is an argument about humility and control. Morris doesn't want applause for cleverness; he wants the dance to function. In a field where abstraction can become a shield, "clear" is almost a provocation: an insistence that contemporary dance can communicate without subtitles. Yet he also protects the private pleasure of making: "all of these fabulous things going on" suggests musical structure, historical references, formal games, maybe even jokes embedded in rhythm and spacing. He is letting complexity live where it belongs - inside the work - rather than in the marketing around it.

"If you CAN see it, that's wonderful" is the final twist. It flatters the attentive watcher without punishing everyone else. There is no gatekeeping, just a layered offer: you can take the dance at face value and be satisfied, or you can look closer and find the extra rooms. That's a generous aesthetic, and it explains why Morris's dances often feel both rigorous and welcoming at once.