“The work forms itself between three very large steel rings, it is stretched between them like a flayed skin. I am concerned with the way in which a language of engineering can be turned into a language of body. It is important that you can never 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 make things that remain secret.” Installed in the Turbine Hall, Tate Modern, 2002–2003