(1) How long have you been making installations?
Since 1972.
(2) Why did you choose to make installations and not anything else?
I love assemblage, fragments and the dialogue between object, site and observer.
(3) What do you think of your own works?
The installation is a place for enigmatic states where transformation can take place. It consists of peculiar anecdotes in a dreamy staged world - is the event about to happen or has it already taken place? Within this ambiguity can my objects relieve themselves of past representations, or are they dependent on their pre-existing reality? As they pose and achieve stasis can they project new powers of reference? I re-assemble in order to have time to wait for the chance encounter, that confrontation between choice, fusion and evolution as the installation develops its visual resonance. It is a questioned document, asking more questions than it answers.
(4) What do you think the difference is between your own work and other installations?
Hard to say about the difference, mine are fairly structured and consequently invite a strange kind of participation: audiences frequently "borrow" parts of the installation and return them a fews days later! Sometimes the take (and don´t return) materials like xeroxed papers that look like they were meant to be picked up like informatio sheets! I get frantic phone calls from gallery directors about such things who think that the sanctity of "the art" has been violated! Often I have not planned for this but am delighted when it happens - some people are not inhibited by structure, or they wish to re-arrange it - that´s the whole idea! They also do it by shifting my objects around surrepticiously when no one is looking!
(5) What do you think of the relationship of traditional artwork and installation?
Separate but equal! Sometimes the installation artist works on a smaller "traditional" work that is a kind of proto-type for a future installation.
(6) What is the size and material of an installation determined by?
Size and material is determined by the concept.
(7) Could you mention the installation you consider to be the largest and the smallest one?
Largest: "Enter the Electronic River" both in physical size and largest numbers of participants. Smallest: "Under the table/under the bridge" portable 3D stereo viewer - hand held installation.
(8) Is there any object or idea that cannot be installed?
Anything can be installed - that is the magic of the installation!
(9) How does environment affect the installation of the work?
The environment imposes its will on objects, artists and observers.
(10) Do you know any fact that restricts the possibilities of installation?
Possibly money and resistance by authorities and audience, but these can be overcome - an installation is like a chameleon, it can be retrofitted, and take on other "colors" to be shown elsewhere where there is no resistance.
(11) Do you like making installation for order or at request?
No installations for order or request. The idea must have a life of its own, take over the "project" and become spontaneous. The original concept of "the project" should be infused with life.
(12) What do you think of preserving an installation?
Not interested - the very nature of an installation should be that it is temporary, a fleeting glimpse, ephemeral - change is growth - one can save some of the parts to use in future projects to continue exploring related concepts. An appreciation of a temporary, fragile environment is like a taste of chocolate: one can remember by documentation our enjoyment and appreciation!
(13) Can the value of an installation be estimated and how?
I am not interested in the monetary value, only the aesthetic value which can be estimated by artist satisfaction, audience reaction through actual viewing, participation and documentation. If someone were to purchase an installation and place it in a collection, for me it would somehow lose its vitality. Of course it would be nice if installation artists could have an income from their work, so perhaps there needs to be a value placed on the act of creating the work, as opposed to the work itself, just like we pay doctors for their advice.
(14) How does copyright apply to installations preserved only in documents?
Copyright can be applied to documented installations, although it would be hard for anyone to duplicate the actual installation from a photo/image (what´s the point?!) it does however establish that the artist/artists are the guardians of those particular thoughts and that may be beneficial.