There has been evolution in my work. In the beginning I was very much busy with the physical body and the limits of the physical body but that somehow naturally led me to the mental body and how I could deal with that. Stillness is so much harder, especially for three months. It was a big challenge. As a performer it is the most difficult experience one can have. And the interactive experience with the public made it even harder.

To control the breathing is to control the mind. With different patterns of breathing, you can fall in love, you can hate someone, you can feel the whole spectrum of feelings just by changing your breathing.

Do you know what's most interesting? Working with the very strong restrictions of the institution. In the Renaissance, the aristocrats would order paintings from the artist. They would order the Crucifixion of Jesus. The restrictions were amazing. Jesus had to be in the middle, three apostles on the left, four apostles on the right - and still you had masterpieces. It's really interesting to work within restriction, and see what you can do with restriction.

People ask why there are so few female artists who succeed. It's because women are not ready to sacrifice as much as men. Women want a man, they want a family, they want to have children, they want to be loved, and to be an artist. And they can't; it's impossible.

In my work I have complete control, but about my life, I don't want to.

My new work deals with emptying my body: 'Boat emptying, stream entering.' This means that you have to empty the body/boat to the point where you can really be connected with the fields of energy around you. I think that men and women in our Western culture are completely disconnected from that energy, and in my new work I want to make this connection possible.

If we go for the easy way, then we never change.