My work’s inclusion of the olfactory, the first experienced sense, is an extension of a long examination of society’s need to be sheltered in a moment in which the sense of home has been disturbed by the insecurities brought by ethnic wars, migrations, political divisions, and, especially, the environment’s brittle state. Smell became critical to my oeuvre because I perceive smells as intimate carriers that bring different memories to different people; through using metaphors and associations to describe smell, these memories are preserved. While I only alluded to smell in Smell of Fish, a 1982 installation and performance based on a memory, I now directly use natural and artificial scent in a continuing, multi-sensorial series titled the Diary of Smells, in which olfactory acts as the protagonist among other typically dominant components such as video, sound, photography, and sculpture.