You are in the skin that you are. And it's pretty much-- it's so loaded, you know, what histories can be read onto skin-- you know, black, yellow, white. Those assumptions that people come with towards a certain skin, I'm very interested in those assumptions. I'm interested in what people see when a white woman comes in, white, blonde, you know. There is baggage that we're projecting. I am interested in what happens when I walk in as a black African. And I am trying to work with or against that assumption.

And you can cover up the skin to make yourself, in a way, the Butoh practice, the Japanese practice of putting on a mask basically, so that the relationship is to that mask and not to the skin. So you almost eradicate another tension that is present because of the way you look and the baggage that is related to the way you look. I'm interested in having that baggage always be kind of present. And that happens by revealing the skin that you're in, and living in the skin you're in, and knowing that it does have a history.