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'm completely uninterested in the origins of Stonehenge. I don't care about the real story behind it or whether it should be saved or not. What I'm interested in is this: in the Victorian era, you could go there as an early cultural tourist and you were given a chisel to chip off a bit of the stones and take it with you. That's what you did in Victorian times.

I'm so extremely well prepared for negative response, I've taken precautions.

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.

The Stonehenge proposal got a lot of interesting criticism. One of the best - or worst - said something like, "Go home to Las Vegas." I think this project could possibly be realized at a very late part of my career. Right now, I don't have the authority, the budget, the credibility.

The space program caused so much future-thinking in culture. People who couldn't go to the Moon were building space-fantasy chairs and corsets and hairdos and anything that they could put their hands on.

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.