In parallel, the hypnotic beat of this video art piece commemorates the amalgam of disparate memories, which I associate with every area of the eclectic city of Los Angeles. Ultimately, dance is a medium for liberating myself from the chains of attachment, nostalgia and existential angst. The vibrant fragments of absurd details of the LA celebrate the notion of visual pleasure from a female perspective as explored in Laura Mulvey's essay "Visual and Other Pleasures", 'In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female.' The haunting circular rhythmic and visual structure of this piece likewise pays homage to the theory of Écriture féminine, whereby memory is re-enacted in a fragmented, repetitive and disjointed fashion in line with my everyday stream-of-consciousness process rather than linear, phallocentric fashion in an attempt to my own voice in the realm of video art. As stated by the Écriture féminine theorist, Hélène Cixous in her essay "The Laugh of the Medusa", 'I, too, overflow; - my body knows unheard-of songs.'
—Katya Kan