The land may vary more;
But wherever the truth may be—
The water comes ashore,
And the people look at the sea.
They cannot look out far.
They cannot look in deep.
But when was that ever a bar
To any watch they keep?
Robert Frost, Neither Out Far Nor In DeepThe Sea and the Shore
Where the two forms meet.
Development of Move 1 — Why are we always drawn to what lies beyond our reach?
Когда по синеве морей
Зефир скользит и тихо веет
В ветрила гордых кораблей
И челны на волнах лелеет;
Забот и дум слагая груз,
Тогда ленюсь я веселее —
И забываю песни муз:
Мне моря сладкий шум милее.
Когда же волны по брегам
Ревут, кипят и пеной плещут,
И гром гремит по небесам,
И молнии во мраке блещут, —
Я удаляюсь от морей
В гостеприимные дубровы;
Земля мне кажется верней,
И жалок мне рыбак суровый:
Живет на утлом он челне,
Игралище слепой пучины.
А я в надежной тишине
Внимаю шум ручья долины.
English translation:
When o'er the azure of the deep
Zephyr doth glide and gently blow
On sails where proud ships just sweep,
And cradles little boats below;
Laying the load of thought aside,
I idle then more cheerfully —
And songs of muses are denied:
The sweet sea-murmur's dear to me.
But when along the rocky shore
The waves roar, boil, and toss the spray,
And thunders crash with awful roar,
And lightnings flash across the way, —
I turn away from stormy seas
To oak-groves, welcoming and fair;
The solid earth feels safe and please,
And for the fisher's lot I care:
He lives upon a fragile bark,
The blind abyss's plaything free.
While I, in quiet, safe and dark,
Hear valley streamlets speak to me.
A. Pushkin, The Land and The SeaTransformation of Move 2 — The Evans Gambit (The Opening Born at Sea) was invented in 1824 by Captain William Davies Evans, a Welsh sea captain. He reportedly conceived of the gambit while at sea and debuted it against Alexander McDonnell while on shore leave in London.
Analogy of Move 3 — The sculptures function as artworks and artificial reefs, providing habitat for marine life while reflecting on human fragility and our changing relationship with the sea. Figures drawn from local communities connect the work to coastal landscapes and social identity.
Transformation of Move 4 — The meeting of shore and sea captures a quiet tension between the physical world and the spiritual realm, gently inviting us to look beyond the ordinary, material world.
Contrast of Move 5 — If you love a bridge, you must also love the abyss beneath it, because if it wasn't for the abyss, that bridge wouldn't be there either!”— Mehmet Murat ildan (A bridge connecting two pieces of land derives its beauty and purpose from the depth and danger of the water or sea it conquers.)
Question of Move 6 — A pier or bridge exists in a state of superposition; it defies natural bounds. What happens to us when we cross that threshold?
With the tide turning, it leans quietly against the land…
Iris Murdoch, The Sea, The SeaDevelopment of Move 7
“Love connects two people like a strong built bridge. Walking from opposites meeting mid way, They stop and talk and they have a lot to say. Two people from different paths meeting and connecting, The sound of the sea and wind are whispering Love is the bridge joining their hearts and Soul.”
Andrew Pell, Love is the Bridge
The dialogue is concluded
The Sea and the Shore: where two forms meet, where two become one.