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 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?"

In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.

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."

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.

I find myself doing fieldwork physically, in the tradition of anthropology. I literally go to the opposite end of the world, to the most exotic faraway places I possibly can, only to find the closest things to me when I get there.

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.