Andy Goldsworthy paints with time, patiently constructing ephemera that rises to the peak of its beauty and vitality at the very moment entropy takes hold and decay sets in. Whether it is a string of autumn leaves trapped in the eddy of a river, a delicate web of sticks buffeted by the wind, or an ice spiral arrested by the morning sun, the drama is implicit and omnipresent. But Goldsworthy's gift, like that of a great poet or a skillful soothsayer, is in revealing what is already there — energy, impermanence, fate. In ODC/Dance's boulders and bones, founding director Brenda Way and choreographer K.T. Nelson find the same veins of tension within the human form. Set against the mise-en-scène of an original Goldsworthy installation, documented by powerful dance photographer RJ Muna, and accompanied by experimental cellist Zoë Keating (of Rasputina and early Amanda Palmer fame) boulders and bones dances along the edge of shifting light, gravity, and natural chaos. And, like Goldsworthy, ODC makes artistry appear entirely natural, leaving ample room for reflection.