In Peter Darling's choreography of the 'Dream Ballet' sequence for the musical Billy Elliot, a young Billy undertakes a Pas de deux with a chair. Set to the dramatic sound track of Tchaikovsky's Swan lake, Darling subverts the safety of the ballet barre replacing it with a mesmerising spinning chair balanced on pointe in an impossible manner. The chair loses its stability to become a menacing, uncanny obstacle to the dance. Yet, a young Billy flawlessly moves with strength, determination, control and grace, turning his spinning foe into an unlikely dance partner. Appropriating this choreography, the Artist creates a self portrait animated in pastel on paper. Through it, Fuller re-lives childhood experiences as a pseudo 'Billy Elliot' dancing in rural community. With fading technique, his hand drawn solo reflects on the relationship between gender, dance, and place and the ability for queer community to draw resilience, strength and beauty from the most chaotic of moments.