Simultaan aan verschillende elementen/lagen werken, zodanig dat je ze onmiddellijk tegenover elkaar ziet staan en de invloed op elkaar kan analyseren. Deze manier van werken kan tot inzichten leiden die je anders niet zou ervaren en laat je toe je elementen/lagen tijdens het creëren aan te passen zonder het geheel te verliezen.

(zie: #copy #kulper #week5 #home)


“The David’s Island Ideas Competition focused on a small island off the coast of New York. The structure and content of the programming was left to the discretion of each competitor. Historically, the island has been occupied by Siwanoy Indians, by agricultural inscriptions, by a prospective ink factory, by a military base and by a regional power authority. Since 1973 there has been no sanctioned activity on the island and the once proud and dominant military structures are now abandoned amidst a regenerative natural environment.

The proposal for the island attempts creative engagement with a range of issues including: the islander’s experience of remoteness and isolation, the propagation of maritime mythologies and folklore, the manifestations of successive insurgencies and divergent occupations, the cultural import of drift, migration and transience, the latent potential for constructed inundations, the real and imagined sensing of suppressive scopic (panoramic and panoptic) regimes, the representational practices and influences of nautical cartography, the prospective elusiveness of nocturnal ephemera and the literal and strategic deployment of military jargon.”

“A number of specific tactics are initiated, primarily through drawing. The Strategic Plot oscillates between concrete spatial proposals and notations for further development. Representational borders are opened with the hope of sustaining a more fluid ideological, critical and material amalgamation. The interventions are generated as ways to augment, qualify and occasionally negate, existing island conditions. Additionally, there are several relational characteristics that propagate the new and point toward the unforeseen, continually qualifying the emergent temporal dynamics of the island.

While it is difficult to develop in detail the full range of deployments, I hope to point to a more extensive sensibility by articulating a specific intervention. A series of new concrete walls with cold rolled stainless steel details are inserted into the gaps of the existing eastern facing sea wall- they range in length from 200- 600 feet. These ‘gills’ perform permeable border tasks, facilitate kelp harvesting and act as imaginative landings for mythical sea travelers. Conceptually, they access and establish more extensive structural relations in the territories of imaginative and real nautical migration, emergent marine ecologies and the use of biological processes, in this case respiration, as a metaphorical catalyst. Additionally, a series of polyp labs comb the ‘gills’, parasitically gathering data regarding the changing environmental status of these synthetic ecologies. Here, quests for productive knowledge intermingle with imagination and illusory projection, loosening the authoritative grip of quantitative information and analytical domination.”

“A number of other interventions (including an inaccessible divide, or, axis of mutiny, camouflage surfaces, landing ‘vessel’, labyrinths of emptiness, or, air turbulence fields, moving and mis-coordinated landscapes, a machinic surveillance field, erosion surfaces, polished metamorphic rock gardens, ‘ballasted’ space, an attractive shell surface, ‘easement’ fencing, a ‘multiplied’ officer’s headquarters, bird colony lines, photo ‘ops’, panoramic steel walls and ‘no fly zones’) mingle, interfere with and remain indifferent to the bounded and fugitive aspects of the island. Tactically disposed, these messengers attempt to deal with the history, physicality and projective aspects of the island, sea and mainland. A variety of new event infrastructures prompt a tensional play between tyrannies of control and borderless wandering. Tourist practices and natural cycles coalesce with a range of formal and material dispositions spawning a range of correspondences to limits and the unbounded.”

- Perry Kulper via dpr-barcelona

Taking inspiration from @stylemepretty and Katie Kulper’s diy wax paper backdrop.
only, instead of waxed deli sheets, we re-purposed some plastic rice bags instead.


Lezing van Kulper.