E.K.: The creative process is a continuum, always recursive. You have preliminary motivations and plans, and the process itself plays a role in the outcome. You always learn and discover new things along the way. It’s wonderful when you finally see it—that’s the artwork.

T.H.: I see.  Now I would like to transition to an interpretation of your work, which is relevant to a history of images. I am particularly referring to some writings and statements of Frank Fehrenbach and Horst Bredekamp, and a certain perspective or method in art history. Fehrenbach’s essay gives an excellent example of this methodology. [7] He has situated the artificial creation of your green fluorescent rabbit «Alba» in a continuous tradition that stretches from Leonardo da Vinci to 20th century conceptual art. For example, by showing that Leonardo, as a would-be creator of genetic art, used mercury to simulate movements in dead mice. [8] These interpretation from art history or let's say a kind of «art history of science» are now and then very convincing, without a doubt. Nevertheless it is also a questionable effort to write a genealogy ranging from the Renaissance deus artifex, like Leonardo da Vinci’s, to your perspective. 

E.K.: A genealogy from Leonardo to Eduardo? I don’t see it…