Dutch beaches were known to me as man-made territories, as part of various land reclamation projects. But I was also interested in the media reality of the Moon landing. I wanted to use that event as a measure of time, to see what had happened in those thirty years - which happens to be my lifetime as well. I was born in 1967 and I remember seeing the Moon landing on TV when I was two. All those things were in play. Then it became a big production. It took five months to gather up the goodwill and make it happen.

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.

Of course, I'd welcome protest. Good criticism is hard to find.

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.

The moment right now, it's a tragically regressive time we live in, you know. We just grounded the Concorde. Where's the future? We've lost the future.

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've gotten all kinds of reactions and it's been used in so many different ways.