Ibiza: Pod Goes to NYC

The beauty and curse of NYC is that it is a sensory overload. It is intense, claustrophobic, and bustling with life. The animosity and anonymity of the masses creates a frenzied excitement and oppressive claustrophobia that distracts from other elements of NYC. A large part of the frenzy consists of people that come to the city where they work frantically just to pay off the rent. As evidenced by these certain workers as well as, at an extreme, the homeless, the American Dream does not apply to all in NYC.

 

So what happens when a New Yorker tries to escape? By keeping to themselves and focusing on their own agendas, New Yorkers create semipermeable bubbles of quiet around themselves. Ibiza proposes a portable means of escape, which New Yorkers can bring with them for unplanned use in daily life. This bubble provides a more substantial retreat than anything New Yorkers can create on the street, yet no bubble can fully block out the noise or the claustrophobia of New York, and certainly none can compensate for being in an NYC office cubicle rather than an Ibiza beach chair.

 

Ibiza retains a certain ambiguity so as to ask the viewer whether it is feasible to escape the hamster wheel workload. It is hopeful to a degree but ultimately fails. One cannot escape the situation because one hears cars honking from even the highest floor of the thickest walled building. One continues the rat race by commuting from what should be safely distant suburbs. What can a little pod really do?

 

Within the translucent pod, I recreate an obnoxiously artificial island atmosphere. Ibiza has been Photo-shopped into overwhelming situations from which one would want to but could not escape. This serves to suggest when the pod would have been most helpful and wanted, had it worked. Finally, loud noise seeps through the translucent walls to emphasize their flimsiness.

Ibiza aims to do three things:

  • Through transparency and illusion, declare the impossibility of escape from the city

  • Through aesthetics and the standard box shape, allude to and depict the impossibility of trying to escape by moving to the suburbs

  • Because all sarcasm is based on some seed of proof, provide some optimism that partial retreat (selfish or desperate), at least, might be possible.