 After 9-11, it became clear that the country was off balance, its center was missing. It felt like we were in a kind of free-flow, tumbling, rolling thing. And I had this image of sagebrush. I didn't conceive of the exact piece at the moment that 9-11 was happening. But I knew as I watched 9-11 unfold on television that it was... If artists were ever needed, now is going to be the time. And I thought I have to start to find some kind of way of giving some voice, some form to this horrific experience. 9-11 was a monumental tragedy in which 3,000 people died. And we saw no bodies. And so it was a surreal experience for us. It was like a disappearance. All of a sudden they were gone, like the buildings were gone. It was just a hole. And the mourning language turned very quickly to the loss of architecture. And over a short period of time, the references, the way of understanding the real loss, which is the human loss, had disappeared almost. So it was important to bring back the figure saying, this is at the center of our problem. This is at the center of our pain. This is at the center of our meaningfulness right here. The sculpture is not a commentary. It's an experience. And it's meant to bring people once again into a fragile and frightening moment. To open them up to a kind of vulnerability that allows the emotional aftershock of 9-11 to be present while at the same time empathizing with the loss. And also recognizing that they've survived it. And so that to me is what the grieving process is. It's one in which you deal with the pain of loss until you begin to realize that you have survived that loss, even though the absence will always be present.