Archive for February, 2010

For a visual artist, Mary Mattingly has spent an inordinately large amount of the last decade in the company of engineers. Her two latest projects, The Wearable Home and Waterpod, have been experiments in survival in a rapidly approaching dystopian future and they have gained Mattingly widespread praise for her ambitious employment of sculpture, living systems, and sheer resourcefulness.

Originally a child of Northern Connecticut, Mattingly has pursued a visual arts career that has taken her as far afield as the Parsons School of Design, NYU, Yale, Paris, and her current home of New York City. Among her varied accomplishments are included a post-apocalyptic opera, a series of inventive and functional Wearable Homes, and—most recently and perhaps most notably—the Waterpod Project.

A collaboration between Mattingly and a series of environmentalists, sculptors, marine engineers, and designers, the Waterpod was a self-sustaining experimental home, contained on the space of a floating barge. Meant to supply food, electricity, and shelter for up to four people, the Waterpod launched in June of 2009 from a peer in the Bronx and made a well-publicized, three-month voyage up through Queens, serving as a hub for community-building and environmental awareness along the way. It is an outstanding example of the environmental consciousness and boundary-pushing creativity that have so far defined Mattingly’s career and continue to do so as her international reputation expands.

Mattingly recently took time from her schedule to chat with me via email about the Waterpod Project, life in New York City, and the legal challenges of blending the line between one’s art and one’s living space. (more…)


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If you take a look at our About page, you might notice someone new.  That someone new is Shane, and he will be providing Rough Copy (both magazine and blog) with some fun and exciting new content.  We are thrilled to have him on the team.

We have a lot planned to keep him busy and you entertained, stay tuned. . .

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