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An image impulse within oneself is a purest well that has not yet been contaminated by one’s own intellect and social propaganda (or is the most contaminated). Often an inspiration starts from that image which somehow found itself in me. Dissecting it, embodying it, and replicating it in different types of medium, such as film, puppetry, movement gives space for a reflection, or a realization that you would achieve when you finally made sense out of last night’s dream.


Formal experiments are a necessity to self-reflectivity. Tackling the form, knocking on the wall, stumping on the hard floor that you are standing on, will address your location and whereabouts, often more clearly than what you are wearing today or what kind of tickets you purchased.


Often it is about the distances that emerge between you and the object when you look through a viewfinder of a video camera. Also, it is about looking at the person who is looking into the viewfinder. These tendencies invite video cameras into performance spaces, often letting them divorce from their previous relation to cinematic editing. I hope it gives a space to meditate on the relationship between our body and these century-old machines that are hiding in our phones and street lights. How’s your posture when you are looking into a viewfinder or a monitor? Where are you when you look through that square window?


Questions that are on wheels, ‘How do we change?’, ‘How do I change?’ Conversations about accepting the differences and co-existing with concepts of diversity do not satisfy the urge for a non-patriarchal togetherness I dream of with others. How do you live with the other when the difference makes you uncomfortable? How do you ‘really’ invite the other? How do you live with that uncomfortableness? How do we transform that uncomfortableness? What would that transformation taste like?