First of all, to do performance art, you really have to give 100 percent. I only know that I have to give 100 percent and then what happens, happens.
I hate studio. For me, studio is a trap to overproduce and repeat yourself. It is a habit that leads to art pollution.
You know how you feel somebody looking at you, and you turn, and somebody actually is? It’s the same at an art gallery. You’re looking at one portrait, turn around, and there is a work of art directly behind you. Because it’s all energy. Every single thing has energy.
I really think there’s no difference between an art piece made by a man and one made by a woman. Is it a good art piece or a bad art piece? Of course, if you’re female, you’re maybe dealing with different issues.
I really don’t like art where you need to know so much theory to understand. If the theory is removed, it doesn’t do anything. That means that this work is an illustration of theory, and I don’t believe in the power of the work itself.
I am not a therapist. I am not a spiritual leader. These elements are in the art: it is therapeutic, spiritual, social and political – everything. It has many layers. But art has to have many layers. If it doesn’t, then forget it.
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.
By the general process of epic poetry, I mean the way this form of art has constantly responded to the profound needs of the society in which it was made.
No poet will ever take the written word as a substitute for the spoken word; he knows that it is on the spoken word, and the spoken word only, that his art is founded.
Your talent is your art. It is not to be taken for granted.
