Yecto Proyecto
Water bindweed, soil, starch, pips & pectin
Dugué d’Omps (Massif Central), Frioul Island (Marseille),
the Lauraguais (Toulouse)
Dugué’s Workshop, Massif Central – FR
Dugué d’Omps (Massif Central), Frioul Island (Marseille),
the Lauraguais (Toulouse)
Dugué’s Workshop, Massif Central – FR
I am interested in hand-picking as an inaugural gesture for any project. I
begin with the experience of grasping and puncturing
material in a delimited territory. Within it, I replay an immemorial and intuitive protocol, where the hand operates without mediation on its
environment.
I wonder if a project can come out of this intuitive approach, without upstream conceptualization, without any scenario. Is there a form of tacit scripting embedded in intuition? Is it possible to produce from one’s own perceptions, to explore a dialectic sensuality between the hand and its environment?
The hand is the eco-logical vector of a production that is in permanent adequation with the perceived sensory stimulation.
I wonder if a project can come out of this intuitive approach, without upstream conceptualization, without any scenario. Is there a form of tacit scripting embedded in intuition? Is it possible to produce from one’s own perceptions, to explore a dialectic sensuality between the hand and its environment?
The hand is the eco-logical vector of a production that is in permanent adequation with the perceived sensory stimulation.
I try,
I experiment with the possibilities of a design that adapts to its immediate environment, to appropriate its meanings and its drawings; a
design that can reconnect with mystery.
The hand-picking protocol is primarily defined by the choice of a place, by the drawing of a trajectory so as to delimitate a sampling field. I grab some raw material located within the reach of my hands, and I am forced to explore what can come out of my immediate environment.
My samples are then processed until an accident leads up to a surprise. I collect them and develop a material library using common tools. Often, it is a robot mixer that acts as my only companion in that transformative process. Through it, I plug in the landscape and mix and match the territory.
The hand-picking protocol is primarily defined by the choice of a place, by the drawing of a trajectory so as to delimitate a sampling field. I grab some raw material located within the reach of my hands, and I am forced to explore what can come out of my immediate environment.
My samples are then processed until an accident leads up to a surprise. I collect them and develop a material library using common tools. Often, it is a robot mixer that acts as my only companion in that transformative process. Through it, I plug in the landscape and mix and match the territory.
