 So I visited this site with nothing in the space to come up with the idea of what I thought would make sense for a very site-specific piece here. And the thing that I really loved about the space was that it has this kind of really the quality of a pavilion where you don't really, you're sort of halfway between being indoors and outdoors. It's this interesting intersection between architecture and nature and how architecture can frame landscape and how landscape can frame architecture and that kind of relationship. So I wanted to make a piece that really felt like it was growing in the site, and it had this organic quality of almost like a garden, but also a garden that sort of interrelates with architecture. So you have a lot of things in the piece that are very structured, that kind of measure out, if you will, things that are of a natural form. So this entire tree shape is actually just twigs. They're all broken twigs, but they're being held exactly in place by this kind of scaffolding, which is also wood that's obviously been made straight but as a tree, but held together to make this tree. So this kind of dialogue between something that is very, very geometric and something that has a kind of organic shape was interesting to me. I like to have a piece that feels, where you feel like you're almost entering a studio space. You wonder whether the piece was made here, and you think about time. You think of it almost like a live site. So you imagine it being made, and you imagine it falling apart, so that the piece is sort of halfway in between being constructed and deconstructed. But one of the ways that I make you think about time is I try and put things in the piece that are very local, that you know as you're sort of looking through it, you read things that you know came from the site. So I'm actually going to put in from my lunch, I'm putting in the rose butter from my lunch, so that when someone comes through, they sort of think, oh, that happened here. And there's things like, there's things from the airplane coming here. So they're located in time. The way that when you pick out an old jacket, you have it worn in a long time, you look in the pocket, and there are these strange objects that really locate you in a place and in a time. So I'm going to put those in. And then one of the things that I liked about what sort of happened, I'll put it here, what happened in the piece that I didn't know would happen, because I always think that actually sometimes the most successful things about an artwork are the things that happen when you didn't plan them or you didn't know what would happen. But one of the things I like is that these strings that sort of anchor it very, very precisely, one of the things I like that we knew would happen is that it came straight, comes straight down on a plumb bob, and then the whole piece had to be built up to that plumb bob to center it. But one of the things that I liked that I didn't know would happen is, I try and use movement in my work, but usually movement that has a kind of fluttering or unexpected quality that is the reaction of wind or water. It has a kind of movement that is unpredictable, like in a natural sense, unpredictable. But so the fan blows these two strings and these paper on them. But when you walk down, when you see this from far away and you walk down and you see the movement of the paper, your mind imagines that the space is open to the wind outside, because it's moving. You think that there's access to the outdoors. And that access to the outdoors was sort of originally what I was interested in, that when you came, I also think about the approach of the work very much. So when you came down the hall that you would see the work framed, because so much of this pavilion is about the approach and then seeing the landscape framed through that window out beyond. A lot of the work is how to make sense, in my mind, is about how to make sense out of information. They have this plethora of information and we create systems of reading it. So all of these different locations you find, the kind of created format or system that is trying to make a kind of logic to have that information. The other thing that's interesting to me about the colors and the screws, the work example screws, but they're actually, they're parts to a whole in some ways. And this idea of how parts break down or they come together. And also sort of tools in and of themselves. They are, like a screw is actually a tool, but then to see it out of context and actually see it as an aesthetic object. Everything about it in terms of its design is about use, but it also is actually sort of beautiful as an object, the same with the colors. But they're really tools. And so how do you make an artwork that is actually where the tools itself of making the artwork become it and become the work. And that kind of goes back to this idea of the museum becoming a studio that you see, but all of these things that are made here are made, you know, often elsewhere. To see something where, A, with the making of it in the site is part of you being there. But also the imagination of it being made elsewhere becomes part of the seeing experience. It's not divorced from, these objects are not, they're not born here. So it's not divorced from its evolution as an artwork.