suckerPUNCH: Describe your project.
cameron NEWNHAM & mark-henry DECRAUSAZ: locus; ethereal empirica. the fleeting nature of the elucidative platform
In an environment incongruent to facilitated human habitation, questions can be raised about the functionality of living in the remoteness of the Australian outback. How would man navigate this hostile terrain? How would research be conducted in a landscape filled with potential hazards?
The aim is to create an edifice providing protection from the antagonistic and often perilous Australian wilderness. Separation between structure in the tree canopy and the forest floor provides a safe platform for human use. Spider silk is used to make surfaces and space, thus acting as a skin graft to the flora of the rainforest, eliminating the risk of rejection.
Being of endogenous nature, the silk structure is not immune to the environmental factors of the milieu. Wind and the movement of the trees tear the silk, sun and rain decay the web as the necrosis of the construction provides a higher frequency of voyeuristic moments for observation. How does this affect the lives of the researchers?
How does the empiricist rationalise the paradigm between the greater potential for observation with the inherent, increasing hazard of the station.
The geometry of the locus toes the line between a potential super structure hung in the tree canopy and a fragile, almost colonial typology, very much a collection of smaller interconnected stations.
Ultimately it is a narrative exploring fragile beauty and weakness as a strength. Investigation into the fluctuating and vulnerable ecosystem of Australia is conducted from a dais wholly congruent with its circumstance. The fragile nature of the locus and the material act as a metaphor for the state of our wilderness, and perhaps offers an epiphany? With the realization that despite appearing steadfast and eternal, definitive and unassailable, perhaps our indigenous biodiversity, like the platform itself, is in fact, fleeting.
sP: What or who influenced this project?
cN & m-hD: Previous student works from (n)certainties, critique from those such as Gwyllim Jahn, Roland Snooks, Ezio Blasetti, Tom Kovac, Tim Schork, Dave Pigram, Pia Ednie-Brown, and Roche himself. Otherwise we were drawn to the work of artists such as Anthony Gormley and Numen/For Use. We also had an (arguably unhealthy) fascination with torn stockings or as Francois Roche would call them ‘punk sock’. Actual spiders.
sP: What were you reading/listening to/watching while developing this project?
cN: There is definitely no time to read, listen, watch or let alone sleep while doing a six week Roche studio.
m-hD: Agreed, though I accredit a great deal of the abstraction imbued in the project to Adventure Time and OFWGKTA.
sP: Whose work is currently on your radar?
cN & m-hD: Roland Snooks, Dave Pigram, R&Sie, Philip Beesley, X-TU Architects.