I have found that long durational art is really the key to changing consciousness. On such a deep level. Not just the performer, but the one looking at it.

I hate kitchens. I don't understand these enormous American kitchens that take up half the living room and then they just order pizza.

If you're a woman, it's almost impossible to establish a relationship. You're too much for everybody. It's too much. The woman always has to play this role of being fragile and dependent. And if you're not, they're fascinated by you, but only for a little while. And then they want to change you and crush you. And then they leave.

When I was 14, I thought I looked terrible. I wore these typical Slavic shoes with metal bottoms so you could always hear me coming and this really ugly princess skirt and blouse with the top button closed. I had a boy haircut, a baby face covered with pimples, and a really big nose.

My grandmother, when she looked at American movies, she said, 'They're all the same. In the first scene somebody shoots somebody and then everybody makes phone calls.'

Typically, the performance has a story - a beginning, the crescendo and the end.

In every culture, [there are those] shamans or medicine men who endured incredible physical pain, because it's a door opening to the subconsciousness. And the way we can actually control the pain -- it's how to control everything. This is the key.