Pam Tanowitz’s Love Storyless, which premiered at Danspace Project St. Mark’s in February, was a homage, of sorts, to Cecily Brown’s enchantingly abstract stage paintings, pianist Molly Mortoski’s voluptuous renditions of John Adams’ China Gates and Phrygian Gates, and Yuki Okuyama’s eccentric costumes. But it was also an apt display of Tanowitz’s stunning choreography and her three technically seamless dancers. A tale of ethereal love, this piece flawlessly fuses the essence of ballet— beauty, line, quick footwork, shape— with the freedom inherent to modern dance. Here, Tanowitz blends an intangible narrative with unique movements that abound with innocent discomfort and proficient grace. The dancers burst out of Brown’s paintings as if personifying the vibrant colors within the art works. At once they are elegant centaurs and then intimidating, nymph-like stallions, prancing with archaic gestures and luscious extensions not void of emotion. The dancers’ movements are fierce, suspenseful, yet tender and, dare I say, beautiful. Even such a simple gesture as a soft caress is not lost on this dance reviewer. At times, Love Storyless has a mysterious and sinister tone, but the wealth of poise and compassion that lingers through each compelling step is enough to still even the fastest of beating hearts.