I wanted to contribute to the landscape tradition in art. By now I guess we are comfortable with the thought that man has been everywhere or affected everything in nature.

The plane as an object has been a huge effort to make. It is a sculpture, a technological invention, a piece of aviation culture. But really, it only exists to be inserted into a variety of landscapes, to be a catalyst, to offset them.

I'm depending on other people to take the work and run. And if they run in so many directions, they sort of cancel each other out. So the meaning is always open.

I'm neither shy nor impressed by media and press. It's just another industry to me. My response to the criticism was, "I work with a steel factory. Why can't I work with the media?"

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'm very jealous of an era where people were inventing something so beautiful as the Concorde and thinking that's the next step. I'm jealous of an era when people thought, "Let's finally go to the Moon."

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.