It's a project about torture houses and interrogation houses in the Soviet regime in Lithuania. I grew up in the regime until I was eight, so I remember a little bit of it. In those times we were really oppressed. My father was Government security.
My work became political through my father's death. He had a car crash which was never really explained. We always have thought that there was something more than just a car crash. Yeah, anyway.
Researching the communist regime I came upon this huge archive. Homes used as interrogation and torture houses by the KGB. What surprised me is that no one seemed to know about it at all. I just knew that I needed to remind people of these places. I went to Lithuania, I re-photographed the interrogation and torture houses. I took those images and sent them to the wood carver in Lithuania and then I photographed them again to make a new archive I guess.
I have a very strange relationship with this wood carver because I have never met him. When they arrive for me it's quite exciting to find out what's in the box, he really just interprets them in his own way. Actually we did quite a good job at replicating it, because it's even got all the details here. But what I love about this particular house is the actual wood has its own mark on it, which I think is beautiful. It's got a lot of personal touch in it which is wonderful.
In the Tate show there will be photographs of the houses but there's also going to be the sculptures themselves and my notebooks. I think actually the process enriches the work. This is actually my first notebook; that was the first ever house I photographed and it was in 2007. In those places a lot of people who were tortured were mostly children and mothers. I was quite shocked how forgotten this part of history is. The prints are very, very grey. I don't think history is ever black and white. I never want to preach what has happened because I don't really know; it's more for me to understand what happened in my own country. I'm really commenting on the space and these buildings are the containers of what has happened and the containers of memory.
Now a lot of people live in these places which I find even more interesting. So they kind of re-cleansed themselves through time. In war there are so many causalities. A thousand people, it's a fact, a number. A person is a story. I try and make that one story, to allow people to access that event with emotion and allow people to connect to it in a different way.