As the daughter of an actor, Amapola Prada recalls frequently attending the theater as a child and noticing that she never saw herself (her body or reality) represented. On the same vein, during her studies in the field of Social Psychology at university, she noticed the lack of inclusion of non-Western subjectivities—mestizos, Indigenous, migrants among them—and their bodies across all the texts and theories she encountered. Correspondingly, Prada turned to the languages of performance, theater, and video—combining them with her training in Psychology—to investigate, departing from the body, the plethora of meaning that simple movements and actions can contain. Across her performance and video work, Prada proposes that our bodies have been conditioned and carry imprints of discourses that determine race, social class and gender, and predetermine us as individuals. Her actions are attempts to strip our bodies of these preconditions or at least position her own expression as an opposing force to the history of oppression and repression which defines her body and her experience of everyday life in Lima, Peru.