Lingua Materna II, 2012
"Where do I belong? It is one of those misguided questions which nevertheless serve a useful purpose, for while it may naively assume that there might conceivably be some coherent site of absolute belonging, it also floats the constant presence of a politics of location in the making. This very act of constant, plaintive articulation serves to alert to the processes by which identity comes into being and is permanently in flux". [Rogoff I. (2000) Terra infirma: Geography's visual culture. New York: Routledge. P.14]
‘Where do I belong?’ Wald's work does not attempt to answer that question; it is, however, situated and situates the viewer in an indeterminate space. This in-between space is created as a result of migration, where identity, language and sense of belonging are disrupted.
Lingua materna I and II explore the in-between space which Homi Bhabha describes as the ‘third space’. While Bhabha refers to cultures, countries and large communities, Those works take the ideas to a micro scale to the individual, family, group of migrants living in the ‘other’ culture. They live in their own ‘third space', a liminal existence.
‘Where do I belong?’ Wald's work does not attempt to answer that question; it is, however, situated and situates the viewer in an indeterminate space. This in-between space is created as a result of migration, where identity, language and sense of belonging are disrupted.
Lingua materna I and II explore the in-between space which Homi Bhabha describes as the ‘third space’. While Bhabha refers to cultures, countries and large communities, Those works take the ideas to a micro scale to the individual, family, group of migrants living in the ‘other’ culture. They live in their own ‘third space', a liminal existence.
Lingua Materna I, 2012
Sweet Water,2011
"Water, like religion and ideology has the power to move millions of people. Since the very birth of human civilization, people have moved to settle close to it. People move when there is too little of it. People move when there is too much of it. People journey down it. People write, sing and dance about it. People fight over it, and all people, everywhere and every day, need it". [Gorbachev M. (2001).
Forward. In Swanson P. Water, the Drop of Life. (p. 7) USA: NorthWord
Press].
The last few years we have seen many weather extremes around the globe, which demonstrates the power of water and the imbalanced distribution of water on earth.
'Moving from an area with extreme water shortages to a country blessed with it changed the way I use water. Consequently in this work I try to stop, take a step back and rethink the value of water'.
UN studies show that water use has grown at twice the rate of the population in the past century. Additionally more than one billion people lack access to safe water.
Are we taking water as granted? Is the abundance of water causing us to waste it?
For this work Wald uses the method of active installation. The work contains written instructions encouraging the viewer to engage with the work, the viewer is integral to the completion of the work.
.
The ‘Play’ with water, like we use to do as children can change the spectator’s emotions from reminiscence and fun to the desire for control and consequently the lack of control. The failing of the joints is a warning for ill connections and relationships; this can create tension and an aspiration to do something – to fix it. Furthermore the distinctive dripping sound can be received as soothing and relaxing or restless and irritating.
The pipes are connected to create a closed shape; which can be seen as the continuous relationship between all water on earth. In the same time the structure weaknesses and the brittle glass on the ground emphasis the fragility of the earth’s water systems and of our dependency on them.
The last few years we have seen many weather extremes around the globe, which demonstrates the power of water and the imbalanced distribution of water on earth.
'Moving from an area with extreme water shortages to a country blessed with it changed the way I use water. Consequently in this work I try to stop, take a step back and rethink the value of water'.
UN studies show that water use has grown at twice the rate of the population in the past century. Additionally more than one billion people lack access to safe water.
Are we taking water as granted? Is the abundance of water causing us to waste it?
For this work Wald uses the method of active installation. The work contains written instructions encouraging the viewer to engage with the work, the viewer is integral to the completion of the work.
.
The ‘Play’ with water, like we use to do as children can change the spectator’s emotions from reminiscence and fun to the desire for control and consequently the lack of control. The failing of the joints is a warning for ill connections and relationships; this can create tension and an aspiration to do something – to fix it. Furthermore the distinctive dripping sound can be received as soothing and relaxing or restless and irritating.
The pipes are connected to create a closed shape; which can be seen as the continuous relationship between all water on earth. In the same time the structure weaknesses and the brittle glass on the ground emphasis the fragility of the earth’s water systems and of our dependency on them.
Pure As, 2011
In ‘Pure as’ Wald focus on a resent marketing practice of nation branding, looking close to home I’m exploring the ‘100% pure’ brand.
The background for this work is Wald's investigation of capitalism, consumerism and banding. Deriving from the resent economical and environmental crisis (or ‘over consumption crisis’).
The ‘100% pure’ campaign launched in 1999 become an exceptionally successful brand, a source for imitation and many studies. Locally, the brand suggestion that New Zealand is a clean-green land raised many voices of opposition. Therefore in this work Wald is intending on contradicting the brand massage, story, and look.
The work is showing our environmental wrongs; deriving from our consumerist culture which effects our environment and health. Wald carefully chose photos of green misdoing in both the national and individual levels. Trying to highlight the personal responsibility we all should take.
The work is exhibited in a domestic context in a form of souvenir plates. The practice of collecting relates to the basic psychology of consumption - the need to gather and show our status in material goods. Additionally it relates to the practice of purchasing souvenirs - remarking on the value the ‘100% pure’ brand holds for New Zealand tourism industry.
The background for this work is Wald's investigation of capitalism, consumerism and banding. Deriving from the resent economical and environmental crisis (or ‘over consumption crisis’).
The ‘100% pure’ campaign launched in 1999 become an exceptionally successful brand, a source for imitation and many studies. Locally, the brand suggestion that New Zealand is a clean-green land raised many voices of opposition. Therefore in this work Wald is intending on contradicting the brand massage, story, and look.
The work is showing our environmental wrongs; deriving from our consumerist culture which effects our environment and health. Wald carefully chose photos of green misdoing in both the national and individual levels. Trying to highlight the personal responsibility we all should take.
The work is exhibited in a domestic context in a form of souvenir plates. The practice of collecting relates to the basic psychology of consumption - the need to gather and show our status in material goods. Additionally it relates to the practice of purchasing souvenirs - remarking on the value the ‘100% pure’ brand holds for New Zealand tourism industry.