Endless Everglades begins as a project that thru satire and parody illustrates the paradox between an artist ideology and an artist desire. Things that once seemed simple, such as an affordable studio space, now have the obvious consequence of displacing the historically disenfranchised. Another example is an art fair that creates sustainability for the entire arts industry, now is criticized for there plastic waste footprint. How does the arts industry deal with these issues. Is it the artist job to do something about there unintended damage? I don’t have this answer. My instinct has always been to question powers intentions. The desire of this project is to pull the curtain.
Endless Everglades started as an idea brand, modeled after We Work spaces. We work is a rental business that caters to co working clients. We Work clients desire affordable spaces to work in within an urban setting. Endless Everglades is marketing toward similar creative clients. Our pitch is, the “guilt” of living and working in the urban setting has worn on creatives. Additionally, the income one must earn to live in a urban setting is not sustainable. The city has its advantages. Proximity to vendors and like minded people is primarily the attraction. In the near future vendors will be able to offer drone deliveries to anywhere at any time. Also in this near future, people’s relationship to communicating through a device will be more effective than IRL communicating. Why would a creative stay in a urban setting, paying maximum price for the smallest amount of space while simultaneously displacing the historically disenfranchised. There is a better way. Endless Everglades. This abonded rocket propulsion factory in the Everglades turned live work for all creatives.
Part of an ongoing body of work, Endless Everglades 2022 is an immersive sculptural installation built of furniture-grade PVC, neon green plexiglas, with video projections of footage shot in various locations in the Florida Everglades. Scaled to the dimensions of the garage gallery space, the artifice of a working water fountain cites the miles of PVC pipes under local roads and canals that serve to run water from Lake Okeechobee into the Southern Everglades. In its closed-system of water circulation, Rigau creates an illusion of preservation. The founding serves only to maintain the life of a single, lone Money Tree plant. Simultaneously, the pursuit is deemed likely to fail by the chaos and language that fill the empty spaces of the structure and dance across the gallery walls. It’s the illusion of movement being in a fixed state when the very life at stake cannot be sustained in such an environment. Such as those manmade roads and pathways bisect and disrupt the natural egress of water through bedrock of porous limestone from Lake Okeechobee to our homes, nothing is endless that can’t be contained.