Thomas Hirschhorn (born 16 May 1957) is a Swiss artist. He lives and works in Paris. Life and works From 1978 to 1983, Hirschhorn attended the School of Applied Arts in Zurich, where he was inspired by Beuys and Warhol exhibitions. In the 1980s, Thomas Hirschhorn came to Paris to take part in the 'Grapus'-collective as a graphic designer, because he was impressed by the way their graphic work was politically engaged. Although he and the Grapus people were good friends, working with them wasn't what he wanted to do. He didn't want to work for clients, he wanted to create for himself. In 1991, he decided to leave the world of graphic design in favor of being an artist. During the long years that followed, he developed his own visual research based on the principle of Collage. In the beginning, he claimed these as 'Graphic design from myself,' but was not successful until he decided to position his Collage-work in the field of art and art history. He then started to create the hyper saturated works he is known for today that incorporate sculpted forms, words and phrases, free-standing or wall mounted collages, and video sequences. He uses common materials such as cardboard, foil, duct tape, magazines, plywood, and plastic wrap. He describes his choice to use everyday materials in his work as "political" and that he only uses materials that are “universal, economic, inclusive, and don’t bear any plus-value”. All of his works are accompanied by written statements that include his observations, motivations and intentions. He has said that he is interested in the “hard core of reality”, without illusions, and has displayed a strong commitment to his work and role as an artist. He described working and production as “necessary”, discounting anyone who encourages him to not work hard, and says “I want to be overgiving in my work”. Hirschhorn is also very adamant about not being a political artist, but creates “art in a political way.” In 2000, Hirschhorn exhibited Jumbo Spoons and Big Cake at the Art Institute of Chicago to complement the exhibit at The Renaissance Society at the University of Chicago, Flugplatz Welt/World Airport. The 12 Jumbo Spoons are memorials to individuals that he associates with failed utopian ideals. The Big Cake represents excess and violence. World Airport (1999), a clutter of cellophane, tape, partitions, lighting strands, tarmac, televisions, planes, cars, and luggage,