The notion of drifting was adopted from the situationist movement as a means to procure ‘found objects’ around the city. A three dimensional imagined landscape was created using the found objects along with new materials which explored the physical properties of the materials as well as the notion of the Atlantic wall. Themes such as rhythm, colour, depth, tension, shape and balance, as well as the composition of new and old, the hidden and manifest, and the notion of the edge were explored within the production and composition of the piece. The notion of border, communication, control, and repetition were adopted from the idea of the Atlantic beach area. The repetition of ‘fortifications’ along the edge of the model were a response to notion of the Atlantic wall being a series of bunkers acting as a barrier. They were produced using shuttered card and wax which were intended to be reminiscent of how actual bunkers may have been built. The geometry of metal rods where used to reflect the trajectories of the artillery within the Atlantic wall as well the communication and controlled movement through landscapes governed by fortifications. There was a repetitive process of disassembly and re assembly throughout the work as well as a simple geometric and architectonic use of matierals and techniques.
After the model was completed it was once again put though the process of disassembly, the card was removed and the hidden moulds were revealed. The inaccuracies in the construction were exposed much like the concrete bunkers as well as the intended detailing the voids and niches built within the card, this was a subtle reflection to the notion of hidden and manifest or introvert and extrovert. Next the model was subjected to the deterioration process; this was reminiscent to how the bunkers decay over time and gradually move, breakup, and fall down the cliff sides and hills. The ‘fortifications’ gradually move along the landscape affecting objects in their paths. This was recorded at short intervals.
Next plans and sections were produced showing the model and entities of the model at different stages of the deterioration process. These were done as cognitive drawings and so explored and illustrated the fundamental elements within the model. The use of line types and weights depicts that of a drawing with diagrammatic or instructive qualities. The drawing depicted elements of the model in plan, section and elevation. Often they merged and new lines and planes were created. A final drawing was made from the layering of these drawings to explore the hierarchy of drawings. This created an abstracted drawing which, although it resembled the model, now had little sense of scale or composition. Instead it depicted repeating entities from different angles and in different positions in relation to other entities.