He leaves other aspects of the planning to chance as well, by asking museum staff to interpret his instructions for the seating as they see fit. He sends sketches, but they choose the dimensions and which materials to work with. And finally, he welcomes the unfixed nature of the installation itself, as it is interpreted again and again through the eyes of viewers, taking a new form each time.
“There is this transformation through interpretation,” he said. “When people look at any artwork, they think of something that nobody else can think about.”
Identities are inherently unstable, too, he believes, as people are constantly undergoing change, molded by the mercurial nature of the world, like clay taking shape. Because of that, he considers his work ongoing research into the self, and broader identities too. Each work, then, can be considered a self-portrait.