In the book "The Salem 1692 Witches", women take their faith very personally and are more prone to reflection than men, convinced of their own sins: "Men blame their own sins because they corrupt the soul; women Blame the souls, themselves."
The performance invites the audience to be a part of the work. They are both viewers and performers, which creates an immersive experience. The dance in "Hexen" is the primary body movement of the performer that adds to the emotional depth of the performance. The performer uses her movements to portray the struggle between the accused and the accuser. The performance has two types of sounds, one is the background sound that drives the storyline and the other is the sound made by the interactive sculpture held in the performer's hand. The ensemble and conflict between the two symbolizes the interaction between the witch's self and the outside world, which goes from the witch being found guilty to self-incrimination and finally to becoming the judge itself. We can discover human’s unconsciousness through this fluid power dynamic. The sculpture translates data and signals into sound through performer’s body movements. The sculpture consists of an accelerometer and female pelvis model that trigger a strange and fascinating sound landscape when moved by the audience. The resulting sounds blur the line between music and noise, much like society's worship and fear of female reproductive power. This sound landscape combines traditional instruments, electronic music, and recorded sounds to evoke a sense of supernatural mystery.