Well, I don’t try to put content in my work. Content is something that either happens or doesn’t happen.1 I think I mentioned somewhere a long time ago, that when I was much younger, and very politically aware of terrible things in the world, I decided to do paintings that reflected poverty, that reflected neglect, et cetera. And they didn’t work. Now they look nice as paintings, but they had nothing whatsoever to do — the content did not hold up, because I don’t think you put that — you can’t put that kind of content in everything. It has to be indigenous, so that the urban altars, they had no inbuilt antiquity. I work until I feel something around my sculpture. It’s not the physicality that makes me stop working to say it’s finished.
It’s something I cannot explain, that I feel it’s finished. But for me, this makes me an old lady and an old fashioned artist, but I believe in content that is not slogan content, but rather something mystical, something that had to come from someplace else.2 And I don’t start by saying I’m going to make urban altars. It’s when I look at the thing, I say, “Oh, that’s an urban altar.” I don’t say I’m just going to make such and such. I just sort of — my work is linked, it’s like compound interest, one-on-one is two, two-on-two is four, and my work — I’m making the work and observing it at the same time. I don’t believe in idea as an art, it makes me very old fashioned considering the world we’re living in now. But I think the idea of art is that it should not be an idea.