I’m Adam Chodzko, and I’m in the loggia, the entrance space to Tate St Ives. Playing around me is Test Tone for Landscape which is a series of five tones just coming from five different positions in the loggia. The idea is that anyone coming into the Tate is building up their own combination of these tones. And then the next space you come into is full of clothes which have all been borrowed from the St Ives and West Penwith community, requested at a point where it’s hot summer, and the audience, a lot of the audience for St Ives are coming off the beach, and it’s kind of setting up this threshold, which is very much having that particular context in mind of an audience, the beach that’s in St Ives. It’s a different season, everything seems to be wrong with the kind of season of this threshold of this cloakroom, in comparison to the space outside it. It’s important for me that there’s a whole load of material in the show that becomes an art object just because it’s entering the gallery space, and then as soon as the show is over, that kind of – almost like a performance on a stage – the props get handed back, and the kind of fantasy is over. So this is the upper level of Gallery Two. I think I was thinking partly about the view down onto the beach from here, and this huge window which is looking out onto the beach, and the idea of this huge wave crashing through the window and depositing into the showcase, but also throughout the exhibition, this kind of detritus and this accumulation of materials that the sea had picked up, and then as the wave pulled back, leaving all these things deposited here. There’s a work from 1992, This Is It, which is these three sticks; and inside each is this concealed chamber, and inside the chamber is a little phial, and inside the file is some Ecstasy. I was thinking partly about the idea of a rambler going out into a kind of wild and desolate rural landscape, and then treating it with a similar kind of expectation or function as going to a rave. So taking this Ecstasy at this kind of fantastic viewpoint. Or similarly people going into a nightclub with these walking staffs, and having this kind of sublime experience of desert or wilderness. And then down here is White Magic – it’s a process where I bought up all the green clothing from a charity shop in Whitstable in Kent, and then took it over to a thrift store in Brooklyn, New York, and donated it to the thrift store there, and bought up all the red clothing in the shop and took the red clothing back to the charity shop in Whitstable and donated it there. So what you’re seeing is the kind of sequence from a series of 80 still images of this happening. But really the work, as with a lot of these things, is kind of happening afterwards, and after the process that you’re showing, where gradually these red clothes get dispersed amongst the community who are buying up the clothes from the charity shop in Kent. And similarly the green clothes from Kent are bought up from the thrift store in Brooklyn. So you get these two dispersals of colour happening in these two different places. Right the way through the work there is this process of creating these kind of interventions in public space, and really kind of proposing each time that there is a kind of – another reason that we might engage with each other.