(1) How long have you been making installations?
I have been making installations since the late 60’s and early 70’s.
(2) Why did you choose to make installations and not anything else?
I do make other things besides installations. I work with whatever I find appropriate to complete my thoughts.
(3) What do you think of your own works?
I am simply compelled to produce the work I produce.
(4) What do you think the difference is between your own work and other installations?
I am not constrained by academia or the commercial market. I allow my personal vision, inner being and spiritual forces to guide me. Several installations have been constructed in remote or obscure locations and, in fact, may never be discovered; or if discovered will raise questions of how, why and by whom they were constructed.
(5) What do you think of the relationship of traditional artwork and installation?
Make what is traditional; traditional and what is to be installation; installation.
(6) What is the size and material of an installation determined by?
In installation, all scales are possible.
(7) Could you mention the installation you consider to be the largest and the smallest one?
My largest installation/performance was “Swimmin’ the River”. It was the repetition of a single form (my body) recurring within the landscape for 2,314.6 miles from the source of the Mississipi River at Lake Itasca, MN to the Gulf of Mexico. My smallest installation, “Subatomic”, exists conceptually in an electron microscope.
(8) Is there any object or idea that cannot be installed?
If there is any idea that can not be installed, I haven’t thought of it.
(9) How does environment affect the installation of the work?
Art, in this case installation, should interact symbiotically with its environment.
(10) Do you know any fact that restricts the possibilities of installation?
Small minds and conservative natures restrict the possibilities of installations.
(11) Do you like making installation for order or at request?
Installatons by order or request are possible when the artist and patron have a clear understanding of the parameters of the project.
(12) What do you think of preserving an installation?
If the artist’s intention is to preserve an installation, it is entirely appropriate; but if the artist’s intention is a temporary work, no one should intercede to make it permanent.
(13) Can the value of an installation be estimated and how?
The value of an installation should be calculated by assessing the materials and space it occupies along with the fair market value earned by the artist’s history of work.
(14) How does copyright apply to installations preserved only in documents?
Installations that are preserved only in documents should have copyright information on the documents and all aspects should be honored in keeping with international agreements.