One of the things I like about presenting performances of longer duration, is the immersive nature of such performances. I appreciate the dynamic experiential time and space, especially the sentience and slippage of my performative body over extended timeframe, during which cyclical time is replaced by compressed, episodic time of constructed temporalities. Simultaneously, there is also an acute sense of non-momentary, continuous flow of time while my body is situated within the continuum of everyday processes. Such unique time shift seems to occur during long, drawn-out performances that has the tendency to bring the audience into an altered mindscape, where overlapping ideas play out in tandem, inviting new interpretations.I enjoy the materialisation of inner dialogues which often come across as out-of-context and disruptive, especially when presented over long stretch of time. I am interested in how durational inhabitation of space and materials can affect my relationship with them in unprecedented ways. I often experience enhanced, visceral awareness during my long performances, a kind of trance-like state as I engage materials in slow, considered movements. As I move with ultra-slow speed, my consciousness was focused on how the materials I use transform and dematerialise over time. There is often a sense of strange familiarity, even comfort in these immersive moments, but not for long, before something else unsettles my equilibrium again. When the ephemerality of time is foregrounded, I sometimes ‘disappear’. I consider such an experience rather liberating and exciting.