In real life, you just work for the ordinary self, but in the front of audience you become the superself. That's a completely different thing.

Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.

Performance has to be mainstream art. This is what I'm fighting for.

I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

I say we don't need art in nature, because it's so perfect without us. We need it in the cities. But the cities have absolutely lost their own center. They think having ten cars and a big bridge is the way to happiness. It's not.

For me, the most difficult piece is the one I'm about to make.

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.