Los Angeles, California
Much of Ball and Nogues work is based on solving material challenges and then furthering their material potential. For their 2007 canopy installation Liquid Sky at PS1, the firm worked with a manufacturer to develop a more robust version of Maximilian’s mylar to withstand higher wind loads and more abuse from visitors. Using computer algorithms and digital cutting machines, they fabricated 1,300 unique pieces that were then put together by hand.
Other series have investigated polished stainless steel spheres (Cradle at Santa Monica Place and a much larger upcoming installation for the city of Edmonton in Canada) and even the cardboard-like polymer used in fast-food-to-go containers. Upcoming work includes a gel-based window mosaic for Mercy Housing’s 10th and Mission Teen Center in San Francisco, and, possibly, a paper pulp installation for the experimental Andrea Zittel gallery and showroom near Joshua Tree.
The pair do not want to be pegged as artists. “We want to effect space, and we’re also interested in social dynamics and the types of activities and interaction of people,” said Nogues. Designing full-scale architecture might even come into play. “Building something that lasts for 50 years versus something that lasts for six months are two sides of the same coin,” said Ball. “I think eventually it will happen,” added Nogues. “I think we’re more than capable of stepping up to that.”