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In the last couple of years, I've been exploring the idea

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of how to move, kind of drawing into the environment.

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And in that sense, as I began working more and more with large institutions and architects,

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It became pretty clear that the architectural engagement was really an important part of the process.

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And at the same time, I wanted to preserve this idea that is very intrinsic to my work.

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The idea of an accident, or the chance encounter.

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And obviously, the two things are very different, because architecture is kind of focused on

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making sure that everything is always the same, everytime. And the building doesn't fall down.

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The taps work, the windows work... Everything has to be very fixed.

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So a piece like the Morning Line, you start to engage in a really strong dynamic between

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forces of chance that you might be able to control inside the gallery, and the forces of chance you can't control at all.

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Like rain, and wind, and erosion...

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And also, large scale institutional expectations for large groups of people.

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As soon as you put things outside, people don't behave the way they behave in a gallery.

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So then, the question becomes here, can you add anything to that, in the way of chance encountered.

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Can you increase the randomness of the world.

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And create an environment which can sustain a kind of pleasure in that randomness.

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And also make it meaningful.

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You could just be in a street corner and throw eggs at people. That would be pretty random too. [Laughs]

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But you want to create something that has a larger meaning and create some sort of more depth.

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But actually bringing it into the world rather than sequestered in the vault of the gallery.