Considering the relational factors at play in the formation of a ‘self’ and the skin as an interface between ourselves and the world, Too Sensitive tests out an idea for performance, with a dress full of pins painted in flesh tones to effectively elicit goose bumps, which involuntarily develop when a person is cold or experiencing strong emotions such as fear, euphoria or arousal. The sharp points of the pins face inwards. I asked the wearer to shake them out as though ridding herself of anxiety, and something curious revealed itself in this process. In the instance when the dress was full of pins it did not hurt her, as the sharpness of the points were displaced by their mass distribution. It only caused discomfort when many of the pins had fallen out and a few remained. This compelled me to consider the relative functions of the many and the one, the individual and the collective, and the ways in which there is a potential destructiveness or constructiveness between these two, depending on the nature of the relationship between them.