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.

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 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.

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

In a way I am saying the nation-state doesn't exist, borders don't exist, you can try going anywhere. It is a kind of pre-Internet consensus I always had in me.

Of course I can have a simple reaction of sympathy and sorrow to destruction. But you also know that you can't have new things if you don't occasionally destroy the old. That's something you're really not allowed to say because things are often destroyed according to particular power relations so it means taking a stand in those cases, which I am not really interested in doing either. I think I am simply interested in looking.

There are ends, occasionally, with projects. That happens. But they are natural dead ends. It's usually the outside situation that demands an ending. I never really settle for one.