important that you can never quite get a view of the whole piece. It is jammed into the building so as to not allow anything but a partial view. The work must maintain its mystery and never reveal its plan. Perhaps then it becomes unobtainable. I want to try to make things that remain secret. This work forms itself between three very large steel rings, it is stretched between them rather like a flayed skin. I am concerned with the way in which the language of engineering can be turned into the language of the body. Unlike some of my other work, this work is constructed. Its engineering is part of the form. There is a way in which the language of the structure becomes part of the language of the meaning. Colour can be oneric. Red is a colour I have worked with a lot. I work with red because it is the colour of the physical, of the earthly, of the bodily. I want to make body into sky. This is a fundamental transformation and somewhat mysterious. The work in the Turbine Hall uses colour to form horizons which are big enough to encompass the view and bathe one in a field of colour. I am interested in sculpture that manipulates the viewer into a specific relation with both space and time. Time, on two levels; one narratively and cinematically as a matter of the passage through the work, and the other as a literal elongation of the