In 1997, “he made his first foray into installation work at the Roundhouse in London with White Bouncy Castle, which had spectators bounding and falling in a giant rubber courtyard. He described it at the time as ‘a choreography that is incapable of being false.’ It’s a description that fits a subsequent substantial body of work that generates movement in spectators – by navigating between the swinging pendulums …, clambering through 200 gymnastic rings without touching the floor …, [or] moving extremely slowly in order not to disturb a whirlpool of fog.”