This installation seeks to show the world the results of the anthropocene; it represents a possible future world we could live in.The sculpture alludes to the notion of crushing plastic bottles for recycling. It is symbolic to the idea of nature reappearing from destruction. Imagery of plastic is reminisced throughout the sculpture in the wrinkled plastic components, but through the destruction comes the bloom. Floral forms appear through the crevices of plastic as a glimmer of hope.Architecturally and sculpturally, the installation works to push the boundaries of form to create a more lose interpretation of ornament.
The sculpture stands at a total height of 15 feet with a width of 10 feet and 13 feet in length; with pipes varying in diameter from 2” at its thickest and tapering to 1/4” at the smallest points.The scale commands power and attention from a distance. When confronted, the viewer may feel intimidated and rightfully so; this is also attributed by the ‘grotesque’ forms.
The installation is contextualized at the Wynwood Walls, Miami design district and New York City, Washington Square Park. All places that receive a lot of foot traffic and gain media attention. The idea behind this is to prefigure possible scenarios of an object that will have reach to different contexts and cultures.