ADIRONDACKS — Ellen Sinopoli Dance Company ran cold and hot on Saturday night. The temperature variation was both purposeful and accidental.

Ellen Sinopoli, the artistic director of the contemporary dance ensemble, showcased two new works at The Egg, one an ode to the Arctic, another to the heat of flamenco. That was the purposeful part. But the effectiveness of these two new works was debatable. Both have strong points and show promise, but refining still needs to be done.

“Snowblind,” the evening’s icy opening, brought together elements of music and dance with strength. But the impetus and inspiration for the work sprung from a large sculpture by Jim Lewis. This creation, probably 8 or 9 feet tall and 6 feet in diameter and looking like a giant garlic bulb, acted as a womb for the dancers. Early on, its translucent walls revealed a mass of arms, hands and legs boiling in its core. And as the magical music by Evelyn Glennie advanced, the dancers poured out like liquid from its base.

But as the piece moved ahead, with dancers tumbling and then melting away, the sculpture, as well as a fabric construction by Jean Krueger (this looked like a jagged iceberg), appeared too static for the dance. While they set pieces fit the environment, they also detracted from what Sinopoli created so efficaciously with music and movement.

Often, Sinopoli’s best work is inactive with some kind of structure. Aside from its initial use, though, the sculptures looked clunky, aliens in the landscape Sinopoli painted.

The ending was memorable, however. The dancers were pulled away, one-by-one, from their frozen world until they disappeared in the wings.

Was “Snowblind” a cautionary tale for a world acting sluggishly to global warming? It might not have been intended as such. But “Snowblind” held a moral lesson for us all.

The other new work on the bill was “Compas,” to a new score by flamenco guitarist Maria Zemantauski. The composition, played live by Zemantauski, percussionist Brian Melick and cellist Monica Wilson-Roach, explored five rhythmic forms of flamenco with inventive flare.

Sinopoli matched her musical fireworks by abstracting, and expanding on, the zesty flamenco dance style. Performed by Audrey Burns, Melissa George, Claire Jacob-Zysman and Laura Teeter, all the flamenco essentials where there — the attitude, (number one of course), the lacy fingers, the snaky arms, the exaggerated puffed out chest, the syncopated hips bumps and the pawing foot that flicked up the legs.

The only real disappointment in “Compas” was that musical ensemble had its back to the audience. In a way, that was nice as they played to the dancers. But watching the musicians expressions and their handling of their instruments, and not their backs, would have enhanced the package.

The highlight of the evening was Teeter’s rendering of the solo in “Sandungera.” She sent chills with her fierceness and lonely confidence as she tangoed alone. Teeter made the entire night worthwhile.