In the last couple of years, I've been exploring the idea
of how to move, kind of drawing into the environment.
And in that sense, as I began working more and more with large institutions and architects,
It became pretty clear that the architectural engagement was really an important part of the process.
And at the same time, I wanted to preserve this idea that is very intrinsic to my work.
The idea of an accident, or the chance encounter.
And obviously, the two things are very different, because architecture is kind of focused on
making sure that everything is always the same, everytime. And the building doesn't fall down.
The taps work, the windows work... Everything has to be very fixed.
So a piece like the Morning Line, you start to engage in a really strong dynamic between
forces of chance that you might be able to control inside the gallery, and the forces of chance you can't control at all.
Like rain, and wind, and erosion...
And also, large scale institutional expectations for large groups of people.
As soon as you put things outside, people don't behave the way they behave in a gallery.
So then, the question becomes here, can you add anything to that, in the way of chance encountered.
Can you increase the randomness of the world.
And create an environment which can sustain a kind of pleasure in that randomness.
And also make it meaningful.
You could just be in a street corner and throw eggs at people. That would be pretty random too. [Laughs]
But you want to create something that has a larger meaning and create some sort of more depth.
But actually bringing it into the world rather than sequestered in the vault of the gallery.