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The project emerged from performance-based research into stability on the foreshore of the Thames. Alongside developing ‘characters’, I produced an anchor, folding easel/ viewfinder, stool/belt assembly and mud shoes to access the silt of the foreshore. The final performance was both intricately planned and intuitively made up, ending with a crude sketch of the horizon.
This provoked the design of an archive of subjective and objective readings of the site, designed to be forgotten and misremembered by generations long after we can predict. These imagined re-occupations of the site include a twitchers’ squat, a disaster relief centre/commune, and lastly, a farmstead. As such, the building itself becomes an artefact, configured to take new forms for new functions.
The main processes for the building were casting and carving, specifically experimenting with ground casting metal using pre-cast machine holding pieces.
Field research from ongoing practice relating to ecological and artificial land-forming and adaptation.
The proposal begins with Neolithic artefacts and extends beyond the 60-year lifespan of an average building. From the third phase (2120-2200 AD), in which the site is flooded due to rising sea levels, spaces and times become increasingly optimistic.
The final character was an obsessive artist, somewhere between Matthew Barney and Cezanne or Morandi. They use a series of modified devices to reframe the same view over and over. This film shows one such framing exercise.