When I began this project I knew I wanted it to come from somewhere within me, be autobiographical. I believe this to be very important when creating a piece of work which from the outset you are aware shall take months to produce. Having a personal touchstone allows your work to become and maintain a sense of life throughout the (long) weeks of exploration, hopefully sustaining your interest. As ego-centric beings, it is only natural that we become most impassioned about that which concerns us and our own personal experiences, and I'm not ashamed to admit I am no different. The topic of my epilepsy did not arrive instantly, for it is something I discuss so rationally, and lives in a part of my mind so far away from any performance previous. But once arrived at it seemed natural to dismantle and explore it. However, these personal touchstones, no matter how familiar, can also be detrimentally limiting to the creative process. It made me stuck in this epileptic ideas box. And I never wanted my performance to explicitly expose the epileptic undertones anyway. I like to talk my thoughts out loud, and key words would frequently arise. CONFINEMENT INVISIBLE DISABILITY ILLUSION BOXES STRESS POSITIONS MOVEMENT. Martin said to write these down, find their antonyms, and then take this huge bundle of words and explore those instead. My exploration was still stemming from my epilepsy, but from now on the ideas could flow horizontally, as well as vertically.