AL: Tell me more about how both Mono-ha and your sculptural work are characterized by material relationships. How do you identify materials? What draws you to a particular steel plate or group of rocks?
LU: From the late 1960s to the early 1970s I often used glass, steel plates, rocks and cotton. Many of my works from this period are made of natural materials along with industrial materials. For Land and Minimalist Art, materials are simply a means to realize a concept. For Mono-ha, materials are as important as a concept. That is especially true for me. My production starts with a concept, but it evolves around the relationship between materials and space. I do not view materials as a replacement for my concept. I respect their reason for existence. That is why I am careful about selecting materials. When I pick a steel plate, for example, I check its condition, color and presence. I also think about other things that may go well with it and its relationship to the space where it will be installed.
AL: You are highly specific about the materials you select and very deliberate in how you identify a gallery or space that you can work in. What draws you to a particular environment, and why did you select the galleries where your work will be presented at Dia:Beacon?
LU: I never place the works that I create in my studio in any random space. I always pay special attention to where my work is to be installed, as the work should fit well with the space or the location. Although I may prefer certain environments, it is more important for me to realize my work in the process of conversation with the environment that already exists. The space at Dia:Beacon is highly neutral with Minimalist installations around it. I am confident that it will fit well with my works.