Stonehenge had an aura but it was also just stone. Then in the sixties, it became a great hedonistic, hippie, druid, rock-n-roll party site. There are amazing pictures of people up on the stones going wild and that's the image I recreated for my model of the project: full access to everyone. I even invented a Stonehenge soccer team that uses spaces between the stones as goals.

I was a lousy academic. I spent most of my time in the cafeteria. But I met fantastic people from all kinds of fields; law, medicine, history, and they eventually dispersed all over the world to do their fieldwork. I liked the way these people committed to the long term in a sincere, visionary way. Their projects weren't about "next season." They were ten-year commitments. They were lifestyle choices that had traditions of fieldwork built into them - moving around, living on location, discipline, a real rigor for research.

National parks, zoos, protected areas, polluted seas - using the whole world as a readymade, I thought about it as a stage set. To activate a stage set you need a drama, an actor to offset it.

I think the wildest wildlife you can find these days is in Chernobyl, where wolves are running around breeding quite well in the nuclear disaster zones.

There are ends, occasionally, with projects. That happens. But they are natural dead ends. It's usually the outside situation that demands an ending. I never really settle for one.

I try to make that tension almost stupidly overt in my projects, almost ridiculously so. I keep coming back to the same obvious points again and again.

I think the optimal artwork is in constant circulation with the world around itself.