‘The nicest thing, I think, about this is the back and front idea. The constructed front, even though it's made of rubbish, is very constructed and it has a form which relates to earlier British sculpture. Then the back suddenly looses all that and becomes rubbish. It's like a sad honesty. If you take this issue and relate it to the other piece, the “Reclining Figure”, you understand the real line of the work. It's really about the facade and this facade is the encounter with nature, tourism with nature, and posing in situations which can be nature, which are also industrial or commercial areas of cities. This is a very typical contemporary relationship. All the values get flattened. Or, even worse, they fall down, they come to nothing, fall to pieces. The relation for me, in all the work we've seen of his, and what comes to mind is "veneer and rear".’

[LESS]
‘The nicest thing, I think, about this is the back and front idea. The constructed front, even though it's made of rubbish, is very constructed and it has a form which relates to earlier British sculpture. Then the back suddenly looses all that and becomes rubbish. It's like a sad honesty. If you take this issue and relate it to the other piece, the “Reclining Figure”, you understand the real line of the work. It's really about the facade and this facade is the encounter with nature, tourism with nature, and posing in situations which can be nature, which are also industrial or commercial areas of cities. This is a very typical contemporary relationship. All the values get flattened. Or, even worse, they fall down, they come to nothing, fall to pieces. The relation for me, in all the work we've seen of his, and what comes to mind is "veneer and rear".’