Sharon Wyrrick is one of Washington's most talented young choreographers. In the past, she has demonstrated an ability to create dances that show her imaginative command of her craft. In view of this, it's all the harder to report that Wyrrick's concert Saturday night at Joy of Motion was, for the most part, self-indulgent and dull.

Although billed as a performance by Wyrrick's company, Full Circle, the program consisted of four solos and only one group work. The solos, two performed by Wyrrick and two by Brooke Higdon, were exercises in sitting, walking and gesturing. Chairs and props figured prominently.

In "Folding," Wyrrick crumpled and folded dozens of pieces of paper before folding herself (and the paper) up in a ground cloth. In "Variations on a Phrase" (a premiere) she stalked back and forth, casting arch glances at the audience, and played with a neckerchief. "Variation" did contain phrases of movement, mostly for torso and arms, that were repeated at different tempi but could easily have existed without the music (Schumann's "Variations on a Theme of Beethoven") and did nothing to illuminate it.

After such static predecessors, Wyrrick's group dance, "(Antic)ipation," also a premiere, was a positive cascade of movement, particularly in its opening and closing sections. Nine dancers played a complex game of follow-the-leader, darting back and forth across the floor like antic joggers. The two middle sections, a balancing competition between Wyrrick and Jane Michalek followed by a quartet for dancers and telephones, could have used some tightening, but, as a whole, the dance was lively, fresh and witty, and admirably performed.

The beginning of the finale, when the dancers put on socks and sneakers and immediately left the stage, showed Wyrrick's current fascination with process. With dancers and talent like hers, process is far less interesting than product, and one hopes that Wyrrick will stop walking and posing and get on with dancing.