Tadalafil Oral Strips Buy 20 MG Since the beginning of my practice, my interests have leaned towards architecture, public space, relational systems, and systems of production. My works, made by using different media such as photography, video, sculpture and drawings, have been always attempts to construct new narrations of public life and human behaviors. In a sense, I have always tried to deal with the possibility of capsizing our attitudes towards living architectural spaces.It is a continuous re-planning of spaces, relationships, and the politics of things.
http://tomtwomeyseries.org/event/the-east-end-long-island-and-100-years-of-womens-suffrage-in-new-york-state/ During the last two years of my practice, I’ve focused on the potential of architectural gesture. In my recent works, my intent was to move the attention to all of the processes behind spontaneous architecture, or self-made construction. The field of research started from the waste from “official” construction processes, typically seen in industrial areas dedicated to mass production chains. All of these areas along the main cities are often overrun by shacks, gardens, chicken coops, small workshops, and crumbling uncertain structures. These structures are often made by laborers and small farmers, who in a sense built their own refuge and redefined their vital space. Unpredictable combinations, instant answers to structural problems, and accidental solutions generate new methods of production and unknown architectural solutions. It is a sort of parallel productive world blooming from the emptiness, the waste, and the ruins of the sanctioned production process.
I started working with the ruins of industrial architecture through the series of sculptures titled …RUINS… These expressed my initial interest in ruins as a field of resistance, a space where evrything could be imagined but has not yet a form. Then by establishing a closer relationship with industrial areas, my work developed into shelters, watch guards, emplacements, or in general, into uncertain structures that suggest a radical reduction of livable space. The watch guards series from 2016 were made entirely with found material. All of them became more than structures that showed just echoes of shelters, slums, or architectures of emergency. They became linked together by a specific impulse: the necessity of human beings to create self-made architecture, outside of the logic and hierarchy of power.
My question is: why laborers, even if they have houses, often build other structures and architectural spaces? These workers or common people or even retired folks follow the impulse to build in order to redefine the measures of their environment through useful structures that re-establish the proportions between them and their vital space. My goal in a way is to bring back the creative impulse as an inevitable gesture of architecture, to the capacity of farmers and laborers to find structural solutions for their refuges and their objects by recycling all the waste which mostly comes from the official production in which they are involved. They can build, design, behave, think, and produce inside a strategy of power. Thanks to their creativity, they can constantly reinvent their own present and resist a total assimilation into the power.