FLOATING EDGE by the Bunny Sandwich Collective
Beginning with the American Nomads Project, the Bunny Sandwich Collective has responded to the likelihood of climate change with a series of proposals which enable a more migratory lifestyle. They craft the tools and narrative imagery to allow us to comfortably imagine life in new circumstances.
In FLOATING EDGE the two deviated from their typically collaborative practice and individually explored the literal and metaphoric meanings of ‘border crossings’ as a route towards change of identity and purpose. Their research revealed a complex relationship towards travel and cultural transmission; the need for shelter housed in worn clothing and for history held not in libraries but instead contained within the body.
Cori’s work for FLOATING EDGE approached the external necessities for crossing borders. Using a variety of camouflage for different geographic entryways, she created ensembles that address the importance of rapid movement and basic shelter. Her clothing considered the competing need to be seen as Belonging, or as Other, and offered real questions about history’s mercurial relationship with migration. Sandra’s paintings and wool constructions for FLOATING EDGE took on abstract and symbolic form while they imagined multiple centers populated with geometric shapes – crisp borders merged with atmospheric skies, archetypal characters and radial symmetry to create a fantastical landscape suggestive of imminent change.
Individually, the projects differently pointed towards forging new lives on the move. Together, the parts aligned and a larger whole emerged – a whole committed to unencumbered movement within a deeply rooted vision for the future.
In FLOATING EDGE the two deviated from their typically collaborative practice and individually explored the literal and metaphoric meanings of ‘border crossings’ as a route towards change of identity and purpose. Their research revealed a complex relationship towards travel and cultural transmission; the need for shelter housed in worn clothing and for history held not in libraries but instead contained within the body.
Cori’s work for FLOATING EDGE approached the external necessities for crossing borders. Using a variety of camouflage for different geographic entryways, she created ensembles that address the importance of rapid movement and basic shelter. Her clothing considered the competing need to be seen as Belonging, or as Other, and offered real questions about history’s mercurial relationship with migration. Sandra’s paintings and wool constructions for FLOATING EDGE took on abstract and symbolic form while they imagined multiple centers populated with geometric shapes – crisp borders merged with atmospheric skies, archetypal characters and radial symmetry to create a fantastical landscape suggestive of imminent change.
Individually, the projects differently pointed towards forging new lives on the move. Together, the parts aligned and a larger whole emerged – a whole committed to unencumbered movement within a deeply rooted vision for the future.