“This creation of this work was very organic in its nature, every collaborator brought their own delineation for the path of the piece, but somehow it all came together.  By the time the final performance day came we were able to enter the experience as if we were figures in an actual dream acting out our generational traumas and desired hallucinations and transforming them, using collective symbology.  It felt as if we created a dream telepathy where the potent symbolism was shared from one person’s subconscious to the others, and this overlap created collective non-linear healing.

The work seemed to function cross-culturally as potent for all the collaborators there that day, everyone connecting to it with a different reference point of meaning.  For example, my ancestors were killed by the Nazis for being Jews in Eastern Europe, so the position of the limbs formed a swastika in my mind, I was able to go to that ancestral past, confront and release some of that pain.  Santos and the Elambo community were relating the dismembered limbs to the Mesoamerican Aztec Goddess Coyolxauhqui.  Baha Al-zain a performer from Palestine was relating it to demonization and resistance of his people.  It continues to function in this manor in exhibition, for example a Tibetan man who saw it in exhibition told me it had cultural significance to him because it resembled the Buddhist Tibetan Sky Burial Ceremony. 

Working in our collective subconscious has a depth of meaning I am just becoming able to imagine the power of.  Letting ourselves let go of our defined reality we can come to a place where the heart of life is what can alchemize us away from the pain of our perceived separation.”