Two projects received a special mention from the jury:
Le grand hamac by Intégral Jean Beaudoin [Jean Beaudoin, Myriam Leclair, Gabriel Paquette-Méthé] – Montreal, Quebec, Canada
In 2013, there were more than 6,400,000 tires out of collected used in more than 7000 locations in Quebec. In 2018, Recyc-Québec reached the limit of his business opportunities and announced that he needed to develop new avenues of uses for rubber recovered.
The limitation of growth implies an awareness of the quantity of transformed objects that we produce, as well as the new stratum artificial that their accumulation generates continuously.
Like a "plastic island" discovered in the ocean we propose to place a unusual topography, consisting of 420 recycled tires, in one of the woodlots Métis gardens. At first sight, this "playground", such an installation in a kindergarten, invite to exploration and climbing. While offering a quirky moment, and "Instagrammable", the work will confine the trees in its frame and will cover a surface of 200m² – a small clearing of the Métis territory. When moving to another experience, when moving to another story ,
Under this "big hammock", this large drape manufactured objects, the visitor who has "taken the time" to explore, to go to the end of the installation, will take a fresh look at this precious parcel of our landscape natural... in danger.
Komerebi by Adrian Haibara Sanchez & Isabella Millington – Madrid, Spain
A fallen sun; not merely setting past the horizon, beyond the earth, but into it: the extra-terrestrial made earthly.
Komorebi is a Japanese word for which there is no direct English translation. It describes the effect of light filtered through the leaves of trees; it is a phenomenon which cannot be broken down into its individual parts. It does not describe the leaves, shadows, or the sun, but the interaction between the light and the trees.
This coalescence is abstracted, inverted: using the physical manifestation of the light, or the sun, this relationship can be explored in a tangible way. Rather than seeing the light through the trees, countless pieces of string comprise the physical manifestation of sunlight, through which the forest is seen and experienced. Much in the same way as an oil painting reifies the intangible sun through paint and canvas, Komorebi uses string and the existing structure of the forest to make the light corporeal, life-size. From certain viewpoints it melts with the forest like a watercolour, from others it obscures it and demands to be seen.
With minimal footprint, maximum impact is achieved; visitors can feel the sunset, manipulate it, slip beneath or climb through it. They are invited to interact with the natural garden differently, but it does not force the forest to yield to the human gaze. It adapts to and is informed by its surroundings. Komorebi, much like its namesake, is not the piece alone, but its interaction - the sun - with the forest.
For more information about the International Garden Festival, visit their website.