To be precise: so far there have been NOFF #1 to #4, and the last one has been shown in Nordhorn. Two NOFF projects remained fiction, but perhaps they will be realized some time. But Siamese Shadow is also a good example of "nature's own facsimile" – it's a work dealing with soft architecture. It was realized for the sculpture park in Graz; it's an outdoor work, and it actually was quite difficult to bring off. A process taking years. A lot has been done with air and balloons, by Otto Piene, Panamarenko and others, but actually that all worked on the Zeppelin principle. The challenge for me was more to make something more like a tree or a leaf. Something pliable. That creates enormous difficulties for you. Twice there was a hurricane that just blew the things away. You have to manage with a minimum of weight, the object mustn't knock anyone down and kill them, but it shouldn't tear either. In Graz, Siamese Shadow was the only object not made of steel and concrete, and so it was viewed with great scepticism at first. But it's a very interesting form for making nature visible:
not all the parts of the work respond in the same way if it's windy. There are 15 pieces, each six metres high. The wind hits them all differently, and so the air currents in the different areas show up very clearly. This produces a very special experience, it is very soft, and it breathes. It works extremely atmospherically in all its different layers. In fact there's a whole
strand of my work that addresses nature's packaging and strategy – not so much in a humanistic sense, it's more like an area where I work with the pleasure principle or with almost alchemical ideas, and where things that don't make any sense are mixed together. The result is often completely anarchic.