— Details of the interior of the Arrival Tribunal film set — with ocean plastic collected from the Swedish West Coast
— Photographer Malin Lundqvist came by during the build up of the set to take pictures, all pictures on this page are hers
Photo credits: Malin Lundqvist
Visual Language of the Production Design
In my future story, the first generation of Pacific Patch People came from many different places, mainly from Asia, sub Sahara Africa and Latin America. To be able to survive on the rough plastic surface, they needed to accept each other right away. They needed to share their knowledge and skills in order to slowly build a new civilisation. Over the years they managed to survive and build a strong community. A great respect for the sea and its creatures grew amongst them as a new “religion”. This mix of different cultures, animism and ocean worshipping is what I wanted to integrate in the visual language of the film set of the Arrival Tribunal (were the Pacific Patch People meet landless drifters who want to seek refuge on the Patch).
The architecture, interiors and objects are a colourful mix of ocean plastic and elements of the sea. The plastic colours are tuned down in its saturation due to long exposure to the salty sea and the sun. The plastic objects and fishing nets are merged with coral, shells, mother of pearl, wavy forms and references to ocean animals. The skills and techniques of the Patch People have developed over the years, they have learned how to melt the ocean plastic around them to create building material, yet they are still 'limited' by the edgy and sharp sturdiness of the plastic. However, they look at the plastic objects with different eyes - a cheap scrappy bottle can for them become a valuable object as shells have grown onto it, or when the sea has giving it multicolour shades!
