— How did your collaboration with Hermès come about?
— My gallerist in Paris, Juan Carlos called me one day, excited! Hermès had visited one of my shows and were interested in a collaboration. A meeting was arranged in Paris, since I was living there for a time, and then we just went from there. It has been a very free process, they have not once told me what to do. We wanted the same thing and had a common aim: a really nice window installation.
— Your window for Hermès reminded me of Matisse's efficiency with colour and form combined with so fashionable lately info-graphics. What were your inspirations for it?
— It is so funny that you say that, since when I sat looking at the finished images, I also was reminded of Matisse. It was never intention- al, but I guess that since Matisse together with other great artists that I like are always in the back of my head, sometimes one of them makes their presence more noticeable.
— Could you explain the idea of visual/contextual dichotomy that you used for the Hermès display?
— I always like to think of my work as multi-layered, like an onion, except I don't think that there is any real centre inside this onion, only more smaller onions! So in every work there is, among other layers, a philosophical layer. A chair in the installation is both a form and a description. So when you look at the drawing it is form, but when you read it, that form is denied, and it turns into a description. Therefore, it is impossible to see both representations at the same time. Once you have understood the idea of double representation, you construct an amalgam, something seamlessly connected; something new.
We do this all the time today since we are fundamentally changing the world we live in. At some point we will be divided into the ones that create the frameworks for daily life, and the ones that use them.