 All right, I'm going to talk about this piece, Levitando, which is actually a piece that was conceived about 10 years ago. And it's a rare case for me, because usually I do work on a piece, and I try to sort of figure out what I want to do with it and take it to the end. But in this case, I knew I wanted to do this work with a fee. And I did do it in several different materials. I did it in Gesso. I did it sculpting the foot. And then I decided to do a cast. And none of the materials I used initially I liked. So I had my Gesso heat, my stockings, hanging in my studio for 10 years. And I left it there, but I knew that I wanted to do something further with it until I decided to use a silica mold and do waxing. And that was amazing. Wax is a really incredible material. And it took a long time to sort of pour the wax in the molds. It took a day for each pair of pieces. And it turned out to be a really beautiful material and very sort of faithful to our skin, because I could get all the skin tones. And I never knew which color was going to come out. I had a lot of bees in my studio with the work. And a lot of the dust from the bees and the tariff molding, not the molding, where they make their hive, isn't the sole of the foot. So it seems like they were walking, but they're not. So I really like that. And I guess I'm always interested in working with the body. The popular media of the traditional history of art sort of has big conceptions about how to present the body. And there's always an association with the body part. And I really don't want to do that. I try to, my challenge is to challenge that, to not do that. I don't want to use a breast, for example, in my work. I don't necessarily be talking about sex. Or just use the body as a medium for other things that are not necessarily from the physical world. More like a channel for what is going through with us, our attitudes, our emotions, the places where we store things from our experiences. So fracturing the feet this way allowed me to sort of do what feet don't normally do. Like feet are supposed to be the support of our body, where we stand. And in this case, the support is coming from a different source. So in a way, this is like a limitation of faith that somebody else is really supporting us. It's being supported by an external source. And this source, which is the pantyhose, it's usually clothing is the frontier at the end of our body. And in this case, that frontier, instead of concealing our body, sort of becomes our body. And it makes our body as noticeable as it would have been. So also the gender, breaking gender stereotypes is important for me. And in this case, I'm using stockings that are a set of clothing that is very feminine associated with women. And the feet are not. So I like having this kind of a juxtaposition of elements. Going back to this piece again, can you talk a little bit more about the configuration of the piece, as well as, I don't know, with the shadows that are before our piece? Yes, very much. So we have very little. I think the piece is very much about our individuality, but it's also about our individuality within a community. So I think I always thought of this piece as an endless piece like it could really grow and take over the whole space. And I think the shadow just add on in terms of that dimension of making it more impressive, more expandable. That idea of the individuality within our community and the patterns of the shadow, they make me think right away about the bees and the wasps. Is that part of the design of the engine? Yes, I think there is a connection. Can you talk a little bit about how you came up with the idea that was generated from a personal experience? I think for me, most of my art comes from a personal experience within my social experience. So I think it's a lot about the world, how we're living in. I said the word trust because I think now one of the most important values in our world society is safety and being safe and no longer trusting people. And I think that's really detrimental to everyone. So I really like to sort of buy those basic human qualities, like trust and being able to be held and be okay and not doing what's expected. Do you feel any connection to feminist art movement in the 1970s or contemporary feminist art? I did. And I was sort of like a daughter. And it was really important for me at the beginning of my work. I started out as a painter and I did a lot of very feminist work in the center that was reclaiming the feminine body and sexuality. And that sort of really strengthened my work at that time. But I feel that now, although that really nourished me, I'm moving more toward talking about the body in general as we are both together.