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.

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'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.

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

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.

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.

"Hello" is always presented as a linear narrative, a singular chain, sometimes in a loop. But the reality of making it is that connections are naturally sprawling all over the place, so I am free to edit any way I want.