Invisible gardens | Interstitia was my diploma project, which dealt with the archetype of the garden and the entanglement between space and the memory of the bodies that once dwelt there, matter and soul.
I chose to substitute the body by the architecture, the blind wall that retains the memory of the vicinity with other dwellings - hives, nests, Petri dishes - the natural patterns being the same.
I chose to substitute the body by the architecture, the blind wall that retains the memory of the vicinity with other dwellings - hives, nests, Petri dishes - the natural patterns being the same.
The further you go, the more you’re becoming a bigger part of me. Sometimes I don’t even understand where you start and where I start.
(Mihail Shishkin)
There is a true story told by Ruxandra Hurezean in her book about Criț, the Transylvanian village. The story of a woman who returns to her childhood house every year, on the same period as the storks that live in the nest built on the house across the street. Her story impressed me, but going further from this into the scientific area, I found articles reporting that this migratory behaviour is changing due to the increased availability of waste food in the landfills.
I go through
trillions of molecules
that move aside
to make way for me
while on both sides
trillions more
stay where they are
trillions of molecules
that move aside
to make way for me
while on both sides
trillions more
stay where they are
(Ron Pagett)
The dome on Enewetak atoll (also called Los Jardines by the first explorer who set foot there) or the story of a garden that turned into a tomb.
Invisible gardens | Interstitia is also a book constructed as a dual system, split in two parts, bound by the cover, a metaphor of entanglement.
The first part of the book uses the pretext of interstitia, defined as the space between bodies, or between a body and the space it occupies. The biological body is supplanted with the architectural one, the blindwall that retains the memory of the vicinity with other dwellings. Other abodes are hives, nests or Petri dishes, with natural patterns being the same.
In the second part of the book, the invisible gardens, the eye turns inwards, in a search for the subconscious, the synchronicity and the coincidences between the layers of reality. There are the reflections of the sky in the glass of a greenhouse, the vegetation that spontaneously invades human artifacts, memory territories represented by deforested areas and decanting ponds absorbed by nature. They are brought to the surface from the subconscious by joining drawings with contemporary poems.
The first part of the book uses the pretext of interstitia, defined as the space between bodies, or between a body and the space it occupies. The biological body is supplanted with the architectural one, the blindwall that retains the memory of the vicinity with other dwellings. Other abodes are hives, nests or Petri dishes, with natural patterns being the same.
In the second part of the book, the invisible gardens, the eye turns inwards, in a search for the subconscious, the synchronicity and the coincidences between the layers of reality. There are the reflections of the sky in the glass of a greenhouse, the vegetation that spontaneously invades human artifacts, memory territories represented by deforested areas and decanting ponds absorbed by nature. They are brought to the surface from the subconscious by joining drawings with contemporary poems.
The book was bound by Grapho_mat.
Besides the book and the framed artwork, in the graduate exhibition I also showed a short 2D animation.
