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 I fantasize about learning to write in Khmer. Because if I could write in Khmer, my perspective would be very different, because I'm both an outsider and insider and I see the writing in a different way. My description would be different from, say, a local writer.

I liked museums but I wanted to be a dancer, I wanted to go into performing arts, or be a writer.

You get closer to your own humanity by understanding the stories of other people and the struggles they have.

I used to despair about the condition of the world, to feel a sense of hopelessness; now I find more and more that I need to focus on what I can do, however little it is, to help others.

I met Mary [Hamill] in New York at my exhibition and when I told her about my oral history project she asked, "Would it be possible to incorporate visual art?" My sister stitches pillowcases, which led to Mary suggesting using cyanotype on them. I originally thought of the idea of pillowcases because when people get married, they have the bride and the groom lay their hands on each other's pillows while their relatives tie ribbons on their wrists. And then on the bed you usually have two pillows - one for yourself and one for your loved one - so when one is gone, one pillow remains.

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.