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.

If you see a Renaissance body, this is completely ugly in this time. Everybody has to be skinny. But the Renaissance body with incredible flow of the meat everywhere, it was beauty.

It's okay that we're not perfect. It's okay that we all have problems. It's okay to cry, to show emotions.

Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.

From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.

I think if people raise their consciousness and find a purpose, everybody will be helped.

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.