An Interview With Boo Simulacrum
MW: How long have you been an artist?
BS: I’ve always been an artist. I seem to remember, as a small boy in the sheds of old men, playing at making things: toy cars, forts, little houses. I seem to remember cutting myself with a knife, crying. Then later in the woods: dens, dams, tree houses, bows-and-arrows. I was always the best at making things; the old men helped me. Children are sculptors. When older, I became a metalworker: copper, iron, silver, all symbolic metals. Then I became a doll-maker, I made a doll of Beuys, another old man, and performed a ritual with it, because I wanted to make contact with him and become a real artist. It worked, and that was when I was really born, and here I am.
MW: Why are you creative?
BS: If I weren’t creative, I wouldn’t be anything at all. Without art I am nothing. When relaxing, my hands make, they work on their own. When thinking, I am thinking about art, about making. I dream about making art. I am actually an embodiment of art. I am creative and created, though real.
MW: Do you consider yourself a real person?
BS: Baudrillard spoke of the Hyper-real, suggesting that a construct can be an idealised version of the real, and because humans create and shape their world with language, thought and meaning, the idealised version is more real than real: the Hyper-real. I am Hyper-real.
This idea is allied to that of the ‘artist’s myth’, like that of Joseph Beuys, who claimed to have been shot down by Russians in WWII, then found and treated by Crimean Nomads and their Shaman: wrapped in fat and felt, and sledged to safety. I am your myth. Without me you are not an artist, you are an artist, I am real, we are indivisible.
MW: What’s your context?
BS: Socially engaged/environmental performance art and sculpture. Maybe I'm now more a social sculptor/sculpture.
MW: What are you working on at the moment?
BS: Making props for a performance piece I’m planning for the Union Terrace Gardens in Aberdeen. It’s a subtle protest against the proposed City Square development that will kill the eighty or so trees that live there, filling the whole amphitheatre with concrete. An alternative proposal has been made by Peacock Visual Arts, to build an arts centre that will preserve the Gardens and destroy thirteen of the trees. That any trees have to die at all saddens me, but I prefer the loss of thirteen to the loss of them all, and the Peacock proposal also involves extensive replanting.
The Peacock proposal provides a sustainable future for arts and artists in Aberdeen, whereas the City Square proposal promises only more shops and more parking, without preserving the Gardens. As long as these future artistic activities can be a force for environmental and social good, I see the sacrifice of thirteen trees one worth making. I believe it is the responsibility of artists to do all we can to oppose the tree-murderers and businessmen.
MW: Do you really think art can change society/the World?
BS: Terence McKenna said: “Art’s task is to save the soul of mankind… If the artists, who are self-selected for being able to journey into the other… cannot find the way, then the way cannot be found”
Beuys said: “I have come to the conclusion that there is no way to do anything for mankind other than through art.” 
I seem to remember doing a lot of work as an environmental worker: planting native trees, felling foreign trees, removing fences and much walking in the wild, counting birds and animals, watching their behaviour and reporting that data. Frustrated by limited results, I saw that I was just one man, and could change things only a little, but through influencing others, spreading the message, I could effect a much more positive outcome for the environment.
I still plant trees: I help out in a tree nursery where I live. I see planting trees as one of the most positive creative acts possible, and I see it as continuing the work begun by Beuys with ‘7000 oaks’. Anyone who plants a tree is an artist, and the resultant living sculpture is more useful and beautiful by far than any monumental piece by Serra. A forest all the more so, and far superior to ‘Lightning Field’ by De Maria.
MW: Thank you, I think we now know who we are.
BS: I do, I’m not so sure about you, though.
 McKenna T. Opening the Doors of Creativity www.matrixmasters.net/blo#BCEAA
 De Domizio Durini L. The Felt Hat, Joseph Beuys: A Life Told. Milan: Edizioni Charta; 1997.p 42