The idea behind Winterstudio was essentially to move the air within the four studio walls to a new location. Winterstudio would depict the absence of space just like place in painting depicts the absence of place in that it refers to something outside itself and provides a stand-in for the place where it is displayed. By mimicking these ambivalent inside/outside characteristics in the workplace itself, I hoped to elicit a new mode of thinking about paintings whereabouts.
To physically achieve this I would use the shape of room 611 as a readymade for my work. By taking the inside measurements of the studio, I could use it as a predefined mold for the outside dimensions of the new structure. The dimensions that previously used to represent an interior wall would not correspond to an exterior wall in the new structure. This meant that when outside Winterstudio one would actually be looking at an interior space. This in turn produced a question as to the status of its interior space.
With this new freestanding construction, one could walk around the periphery of the studio and get a physical sense of its presence, which had not been possible before. To play on the ambivalent inside/outside relationship in the building, I installed two entrance doors; one open to the inside, the other to the outside. This also had a practical aspect as it would allow me to choose a level of privacy. Leaving one door open suggested my presence. The other door could then be closed to retain heat.
Having the studio exposed and open to the public proved a more vulnerable position than first anticipated. I was prepared for visitors, but often people would walk around the building and not dare to come inside. This uncomfortable situation of being watched, was not particularly productive for my concentration in the painting process.