ASIA STEWART

and sexual harassment. Given my classical vocal training and background in musical theatre, I’ve been able to rely on sound and physical vulnerability to invite audiences in and create interactive performances.

What has been the most challenging aspect of your art career?

It has been difficult for me to integrate classical music and opera into experimental theatre. I have yet to sing in any of the new works that I have directed thus far, so I am eager to return to the art form that offered me my first means of fully expressing myself.

Where do you find inspiration?

The first performance of my Graft series was inspired by several literary and cinematic works including Frantz Fanon’s Black Skin, White Masks, Nella Larsen’s Passing, Toni Morrison’s The Bluest Eye, and the 1934 and 1959 versions of the film, Imitation of Life. Generally, I draw inspiration from almost every realm of my life and have returned to old journal entries, childhood recollections, and nightmares to complete my most recent works.

Which artist do you look up to? Any artists you're loving at the moment?

Lorraine O’Grady, Adrian Piper, Carrie Mae Weems, Regina José Galindo, Anna Maria Maiolino, Tanya Aguiñiga, Panteha Abareshi.

What's one thing people should know about you?

I’ve always been comforted by the concept of entropy and often use the symbols that represent the change in entropy (ΔS) in place of my initials. When we accept the fact that the universe tends towards disorder, we can embrace unknown possibilities and find confidence in betting on the fact that the only thing that is constant in life is change.