An object is made – at the world’s furthest – then shipped, reprocessed, packaged and stocked for consumption. The produce can sustain no delay. It demands full commitment, full physical embedment. This is the frontier of the contemporary workforce, reliant on the thread of the endless road. Merged into the slipstream, he tethers to the flow of commodities and capital. A gasp – a shortness of breath, an elevated heart rate – none of this can be. No weakness is acceptable, no running on fumes. Any small flaw – be it injury or age – will make one redundant and obsolete, as mobility and adaptability translate to real potential. The bandwidth is wealth. This is no place or time for the unfortunate.
Interstate is an inquisitive peer into the sleepless nature of distanced and decentralized outskirts and plateaus. A gaze into the middle surfaces of savage wildernesses and highways, occupied by restless transit, movement and cargo. Interstate is a ruthless, agitated wasteland, removed from the prying eye of the central nodes – a primal topography, reclaimed only with a tent and a strand of concrete. The vast barrens, harnessing the roaming flow of the exerted nomad.
Interstate is territory. Interstate implies politics. It is a dystopian, Sisyphean realm of labor forever. The wait of the world in the limbo of undeath. A vacuum, that absorbs time and motion.
Spaces portrayed are those of unbridled, oppressive ambiences and their exploitative phenomenology. The series focuses on the image of the excluded spaces of nomadic labor and its shifting, harsh and violent environments, as well as a generalized social crisis, resulting from inequality, maladjustment, lack of social programs and disproportionate opportunities.
