I became a performance artist because I recognised my incompleteness in the incompleteness of the other, and I decided to complete things through action. My art is not about material or ideological achievements, neither is it about crafting objects or creating sensory experiences. These cannot but be side effects of the action or means to completeness. Since my work has to do with completing things, every intent becomes artistic by the way a specific action embodies a certain intuition and is witnessed at least once, by at least one other. There must be as little technological mediation and as much ethical implication as possible. This I call the singularity of the action.

There are fundamental laws in performance art as I understand and practice it. These laws help me in the creative decision-making regarding what might be done and what might not; and they allow me to share and discuss aspects of creative processes with other people, whether they are artists or not. For instance, I assume that an artistic performance is the embodiment of a specific intuition, meaning that I am open to both intuition as a non-conceptual form of science and to the body of the other as a marker of difference in space. However, that difference shall not distract myself from the fact that the other is also the same. This I call continuity.

Performing is about doing not making. It is action, not a play. And there is plenty of room for failure. Witnessing is therefore an essential counteraction of the performing situation. The witness must be: present; other than the body of the performer; human and able to feel. This I call being safe from failure, thanks to the presence of the one who witnesses.