You pick people, and they pick you sometimes. It's especially great to connect with people you think you have nothing in common with.

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 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.

I find myself doing fieldwork physically, in the tradition of anthropology. I literally go to the opposite end of the world, to the most exotic faraway places I possibly can, only to find the closest things to me when I get there.

Really the moment I decided I wanted to do art seriously, I left art school. I wanted to be with people who were interested in the same things I was: popular culture.

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.

Of course I can have a simple reaction of sympathy and sorrow to destruction. But you also know that you can't have new things if you don't occasionally destroy the old. That's something you're really not allowed to say because things are often destroyed according to particular power relations so it means taking a stand in those cases, which I am not really interested in doing either. I think I am simply interested in looking.