The Superwoman Project (TSP) began in 2000 with the preservation of one thousand pomegranate skins that were put into storage just before the birth of my second child. After a period of full-time mothering, the project was picked up again in 2005 when I began working with knitted elastic bands. Originally intended to be sculptural installation, the body-like objects first became costume; but it was not until I began work on Princess (2006) that I came to understand the overarching structure of TSP: The fictional character Superwoman has four costumes. Each costume gives form to— and is created by—a different persona: Angel, CEO, Princess and Mother. The costumes represent not only the physical skin of each persona, but also their inner and outer selves, skins that extend all the way in and out of layers of being. The knitted elastics became CEO in 2007. Angel was also completed and performed in 2007, followed by Mother in 2008. The costumes and installations of Princess and Angel were made with light industrial materials and textile processes. Mother’s costume was sewn together with thread and the preserved pomegranate skins that started it all. The performances and installations of TSP vary according to context. The Superwoman Project is an ongoing art-life experiment, and a novel in four costumes.