Rarely is walking considered as a distinct
mode of acting, knowing, and making. As its necessity diminishes and
its applications rarefy, the potential of walking as critical, creative,
and subversive tool appears only to grow. Conceived of as a conversation
between the body and the world, walking becomes a reciprocal and simultaneous
act of both interpretation and manipulation; an embodied and active
way of shaping and being shaped that operates on a scale and at a pace
embedded in something seemingly more authentic and real.