My works continue to complicate narratives and push forth transnational hybrid identities as radical modes of representation with religious, regional and political significance. Central to many of my performances is my use of fabric, a practice rooted in my Cham-Muslim refugee migration experience when my family fled with only the clothes on our backs. Hybridizing religious aesthetics to disrupt ideas around otherness, textiles serve as both a storytelling device and a costume and sculptural element that extends my body’s surface and assumed personas into specific time-space intersections. Working transnationally, I continually investigate the artistic, spiritual, and political collisions of my diasporic, hybrid identity with the resolve that in-betweenness is a powerful space of creation and provocation. Works such as The Buddhist Bug, The Red Chador and White Mother continue a methodology in which personal narratives shape my art. I believe performing narratives is an act of social engagement that contributes to collective healing. Performance and storytelling become ways of bridging the interior and exterior space of self as well as initiate critical dialogues between communities and institutions. As with most of my performance personas– they are always heroines and larger than life figures–womxn who are bold, courageous and unapologetic. The personas I create transcend confinement and ideas that are rooted in any kind of absolutism because they are hybrid forms mixing and matching, reinventing and reimagining possibilities.