in 1989, you began a series of short films based on a property developer called soho eckstein who is real estate developer and he becomes a civic benefactor, erects a statue, a monument, to the black south african worker from whom his wealth is derived and then in the film, the statue moves. what we're you trying to get over with that film, what was the message? i think that it's very difficult to think what i was trying to convey. i think if i knew what i was trying to convey, the interest of the work disappears. i'm interested in the impulse and following the impulse and seeing what it becomes and i think i'm interested in after the process rather than at the beginning of the process. as i say, it's a thinking in material, having trust in the material to reveal things to you that you already know, that you're not aware of. it's a way of bringing different elements of a fragmented world together. and so the films were made without scripts or storyboards and that's important, that they start with an impulse or an image and the drawings and films expand backwards and forwards and then