I bought an old house, and I put a new house around it. I got interested in the dialogue between the old and the new and trying to sculpturally create a new entity, but that retained the qualities of the new as independent of the old. I set myself goals like that when I started. I kind of pulled it off. I also wanted it to be seamless, that you couldn’t tell where it began and where it stopped, and that was very successful, and that was the power of it. In fact, critics would come in and would look at a rain spot on the plaster and say, “Is that on purpose or not?” They thought they were maligning me, and I thought that was just wonderful. That was exactly what I wanted them to worry about.