My interventions are constructed by inserting myself into the delicate social arrangements of a site. Particularly spaces unknown to me with a high potential of cultural exchange and potential for learning. For Example Dazzledorf, a German Brothel was used to stage drawing lessons while I posed as a live nude model for sex workers. The drawing activity allowed me show empathy and vulnerability, hoping to equalize differences. Other performance works like Eastward Room, sought unity with fellow travelers from different religious backgrounds, by learning their rituals and exchanging artifacts within the multi-faith prayer rooms located in London airports Art always me to explore relationships of political borders and public access. In Shoot, unable to see my audience as they worked behind one-way mirrored windows, basketball was played over a large barrier fence at a goal attached to the back of the North Korean Embassy in Berlin. Sometimes my investigations explore contentious political systems composed of social compromise; as in Poisoned Apple where I toxify fruit in public orchards to the maximum federally accepted legal limit, or Fugitive where attendees were forced to aid and abet as a wanted criminal hid in plain sight at my exhibition.