This monumental public intervention occurs in the guise of Hopscotch, a near-absurd extension of the classic children's game. This land work, hundreds of squares long, appears in and out of drains traveling sidewalks, parks and other urban arenas throughout the city, the city then, becomes linked together by one playful path following and integrating itself to the already existing landscapes.
The site-specific street intervention is inspired by the ancient popular street game, except this one is hundreds of numbers long. The expanded game reminds us of our innocence while exhausting as our urban surroundings.
Hopscotch exists for the streets, transforming monotonous sidewalks into daily playgrounds.
The original hopscotch courts were over 100 feet long. Roman foot soldiers ran the course in full armor and field packs, and it was thought that hopscotch would improve their foot work. Roman children imitated the soldiers by drawing their own boards, and creating a scoring system, and hopscotch spread through Europe, Asia, and quickly across the globe.
How does civic life co-exist with infinite play?
Woodgate's interventions, objects and collaborative events are a reaction to our constructed structures exploring their impact in the surrounding landscapes. Her work considers behavior patterns and organizational systems across times and invites people to interact with them in new ways. She reflects on civic politics and the use of space and place, often with a ludic and regenerative approach.
Inspired by thermodynamics and the perpetual motion of things, her process-oriented practice considers everything, discards nothing, and turns everything into something else.
Woodgate graduated from the National University of Visual Arts, Argentina, in 2004 and has exhibited extensively in U.S and abroad. She has initiated collaborative projects and has been awarded artists residencies both nationally and internationally. Originally from Buenos Aires, Argentina