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.

My purpose isn't to be confrontational. My purpose is to find out about the world and play myself against it to the extent that it is even conceivable.

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.

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.

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've made a poster at home. You know the iconic image of Che Guevara, the black and red graphic of his face? I think it's the perfect graphic, the best graphic ever made. I cut a Concorde out and put it over his head so it's Che looking up and the Concorde going by. Both are dead, maybe obsolete.

"Naming Tokyo" kicked off at the Palais de Tokyo in Paris in June, and it's going to travel to various art institutions for years to come. Every time it is shown, I'm developing the research and involving more and more people in it. The final conclusion of the work would eventually be to put up street signs in Tokyo with my names on them.