I build a lot of works directly on the site, for the space, inside the space. I arrive at the exhibition space with all of my gear and get going, just the way that I work in the studio, too. For these kinds of works, I like to find niches, corners, double floors, pillars, and repositories. Places on the edge, obstructed situations, and coincidental aspects of the architecture are perfect anchor points. Some of my works are really implanted; I pour them into the space, saw up the floors, or wrap them around posts. The architecture becomes part of the work, as well as a foil, as the work is firmly woven into the surrounding space. Its presence is intensified, things get precarious, and irretrievably end in the here and now. I really like that.
I react to situations and play with the givens at a site, in terms of both content and form. Givens are opportunities, but please, no airy fairy nonsense about references. I require all of my works to function independently, to assert themselves. Here, you realize that I’m definitely a fan of artistic autonomy. Of course, I know that this is a nice bit of modernism. But a beautiful bit, and that’s why there are lots of independent works.