I recently stumbled across the The Heidelbergh Project, an artwork of reclamation that transforms spaces and objects of waste in a Detroit suburb. Taking four derelict houses and burying it in layers of scavenged materials—tires, hubcaps, broken toys, battered dolls, rusty signs, busted appliances, and automobile parts—all brightened with stripes, polka dots, and splashes of paint. It’s interesting to note how the people in this promotional video speak of the ‘magic’, ‘fantasy’ and ‘incomprehensibility’ of the work. The creator of the project, Tyree Guyton, speaks of resurrecting the city.
Whilst I realise this project has much to do with the urban economics of Detroit – and the hope that the Heidelbergh Project might reverse the city’s decline – I’m left wondering what it is about using and manipulating waste that allows this intervention to have its ‘magic’. If I was an ethnographer I’d like to survey the varying responses to The Heidelbergh Project and Nek Chand’s infamous Rock Garden. I think that a comparative study like this would reveal some interesting responses to the instrumentalisation of waste in art. I wonder if notions of transformation, transubstantiation and redemption would be common to both.