In This Body Mystery, even though it was written in the voice of people with HIV/AIDS, it's about how people come to accept their fate and their sickness. It's about accepting the way your life is.

It's like you're organically developing yourself, moving out, metamorphosing into other forms depending on where you are, what you're doing at the time, how you want to play on things.

I have some advantages of viewing from the two lenses, the two perspectives. I think that a lot of visual artists who come back here from the United States and are Cambodian also write from their American references - looking inside the old culture, and looking at themselves as an American looking into the country where they were born.

Mary's [Hamill] working from an outsider perspective and I'm working from an insider-outside perspective. In this case, it will bring an added dimension to the visual aspects of the work. Also the processes and approaches that I'm thinking are about learning. I'm playing it by ear to experiment and see what happens.

Sometimes the mere connection we make with each other can change people's lives. It doesn't have to be something big. The mere fact that you're interested in them makes them happy.

Whether I affect one person or an entire family, or even a group of people, I feel like I have resources and education and ability and skills that some people may not be fortunate enough to acquire. But by sharing and inquiring, being a listener, and being interested in the stories of other people and their lives, I can also pull things out and say "What can I do for them? What can I share with them that may alleviate some of their suffering?"

In This Body Mystery, even though it was written in the voice of people with HIV/AIDS, it's about how people come to accept their fate and their sickness. It's about accepting the way your life is.