(1) How long have you been making installations?
Since 1992.
(2) Why did you choose to make installations and not anything else?
The individual pieces that I had been making in the studio became more challenging when there were two or three set up so close that you could not see one without the influence of the others, so I decided to exhibit them that way.
(3) What do you think of your own works?
Most times, whether the work comes out as had I planned or not, it is very surprising. Almost as if it is someone else's work. Knowing that the work will not exist after the duration of the exhibition, I tend to spend more time with it.
(4) What do you think the difference is between your own work and other installations?
My work is more about selection and placement of the individual pieces, which can and are reinstalled in other contexts with other pieces in other exhibitions.
(5) What do you think of the relationship of traditional artwork and installation?
One is the natural extension of the other.
(6) What is the size and material of an installation determined by?
The particular pieces selected and the feeling I want to project, i.e. crowding, chaos, etc.
(7) Could you mention the installation you consider to be the largest and the smallest one?
A solo exhibition titled “REDIVIDER” encompassed a rather large space, but consisted of only four pieces. The recent “Disappearing Act” in New York involved three chalk-line drawings which were walked-off by the end of the opening reception.
(8) Is there any object or idea that cannot be installed?
Honesty.
(9) How does environment affect the installation of the work?
By forcing the issue of “Art” upon the non-art materials.
(10) Do you know any fact that restricts the possibilities of installation?
Ignorance.
(11) Do you like making installation for order or at request?
Sometimes, because it gets me to think about a situation that I may not have.
(12) What do you think of preserving an installation?
If an installation in not left in the original setting it is not the original installation. I prefer having an opportunity to re-install a piece, recombing it with other work, which changes the framework for its interpretetion.
(13) Can the value of an installation be estimated and how?
Historically, maybe. Monetarily, of course, it's a capitalist society!
(14) How does copyright apply to installations preserved only in documents?
As intellectual property.