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.

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 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.

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 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.

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.

"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.