Leslie Cuyjet has performed with dozens of contemporary choreographers over the years, but she's still something of a mystery. Her subtle, strong presence unassumingly grounds the stage. She has a way of revealing and receding. But the layers are being peeled back: Lately, Cuyjet, 40, has unveiled a potent choreographic voice, excavating the solo form through video, writing and, of course, the dancing body. "Blur," a solo that looks at objectification and race, is set to debut on Friday at the Shed as part of its Open Call series. Cuyjet (pronounced SOO-zhay) also has a video piece, "For All Your Life Studies," in an exhibition called "In Practice: You may go, but this will bring you back," at SculptureCenter in Long Island City. Looking ahead, she'll appear live on June 13 as part of the Performance Mix Festival in Manhattan and offer a virtual presentation on July 11 for the Center for Performance Research. Earlier in May, as part of the Kitchen's Dance and Process series, she presented "With Marion," an elegant, complex look at identity partly inspired by Marion Cuyjet, her great-aunt, a pioneering teacher of Black ballet dancers who formed the Judimar School of Dance in Philadelphia in 1948. "With Marion" seems to sum up Cuyjet's approach as a choreographer, which is to bring the past into the present through writing and movement, as well as to surround herself with intimate artifacts. In this labyrinthine work of video, text and movement, she brought the image of her pandemic studio — a desk — into the space (Queenslab in Ridgewood, Queens), and operated a complex system of projections that included a photograph of her great-aunt. It's a feat to pull off something so conceptual and personal; Moriah Evans and Yve Laris Cohen — who curate Dance and Process, an incubator that affords choreographers the space and time to develop work — were impressed. Evans said she admired the nuances of seemingly simple gestures in the piece, as well as its "delicate shifts," which "contain all the complexity that I think is within Leslie as a person and as a performer: the subtlety, the control, but also the anger, the rage, the freedom." Cuyjet's dance lineage and her experience growing up in a middle-class Black family are complicated for her. In "With Marion," she said she was looking at the privilege afforded by light skin.