Maybe I can talk about the bridge work. The bridge work is not done in my studio because that is
carving the Human Rights Declaration. That is a work … Because it is more than 200 pieces, so, I had
to ask more than 16 people to carve on that.
Some of them are carving at home and in their own studio. And during the show. Before the show I
hadn’t seen it. (laughs) After setting it up, that was the first time I saw my work. Because the scale – it
is huge – it is 18 meters long. Before the show, I already think about the storage. That’s why I asked
them to make small pieces, one by one. Because if you do a carving there, you have to spread out. I
don’t have that space. But after they’d finished, and also after the set-up of the work, it is done and
then organized and packed in my studio. That is the kind of work I can store, and a museum cannot.
So, a museum – because they are really scared of the scale, they say, „18 meters! It’s not possible for
us to collect!“. But they never know, when I collect it in my studio, it only occupies a book shelf size.
My ideas always start from one emotional point. Just like for example the bridge started right after
the 1st of July 2012. Right after the marching, I thought I had to make something. I am not a very
outspoken person. I don’t like to talk in public. But I am still willing to express myself through the art
And I said, „ok, I want to do this. I want to make a human bridge for the people to step on.“ That’s the
idea, that’s all. And then I had to think, „who is going to make that?“ – because of the large scale –,
„how to arrange that? The venue, the space? How to fine-tune everything?“ That is the rest of the
things. I think that’s a basic training of being an artist in that way. I never worry about the scale for
the arrangement. The only thing is, „where is the idea from?“. So, that is the idea. Usually, it is by big
issues. This time, it’s by the Umbrella Movement.