Without delay, I knew how to respond to the invitation to contribute work to The Clockwork Gallery. Instantly, I had a vivid vision, in which, my mother and father, back to back, look out over Mehringplatz, from the slowly rotating clock tower. In the vision, my parents scan the morning commuters, comfort the unemployed youths and keep a watchful eye. By attracting the attention of thousands through its hiding in the framework of advertising, The Clockwork Gallery could possibly be one of the more democratic platforms for art to be shown. Yet, the artwork shown, might have to cater to the short attention span of the modern urbanite. This takes us to the site and situation-specific, which is something my work often addresses. Actually, I would prefer to use the term situation-specific rather than site-specific. I find the site naturally integrated in the situation. Whenever asked to take part in projects and exhibitions, I make something that directly addresses the situation or circumstances. In 2007, I was invited to participate in a group show located on the site of a century-old abbey in rural Belgium. To address this situation, I showed three live sheep. Now, why I decided to have my parents portraits shown to the public in Berlin, a city where I havent been to for a decade, is not anything I am in a position to discuss. Like with the sheep in Belgium, it was the obvious thing to do. It could be argued that the artwork is exclusive to my own experience. I would be the last person to dispute this. I got such a thrill from the vision, and I now want to see it in reality.