In her studio in Delft (the Netherlands) Camiela Warringa makes almost every day little figures from clay.

The figures on the route 111 suddenly show up anywhere.
This route can be called a trajectory that expands over the years.
The longer in time, the larger the distance becomes and the greater the number of figures.
Pictures will be made when the Route 111 shows up somewhere and these pictures will be shown on this website.

The image / the route:
The artwork shows men on the way and the way one travels, with suitcases, with stuff. They travel to work; they are fleeing, following, or are they pioneers on their way to unseen places, to bring something, or to fetch something.
Sometimes they can be interpreted as “the shopping human” that lugs around everything and leaves the environment behind with nothing.
Then again, the figures can be seen as just a herd of people that are relocating, with big differences amongst them, nothing more and nothing less than that.

One thing they do have in common: they are walking (after each other), they carry, and follow an unknown path/route. But why they are following this route stays unanswered.

The name:
The number 111 in the title/name of the artwork can be interpreted as the vertical lines that the figures on the route in fact are.
As more singletons appear over time, the true (and more dynamic) name would be “Route 111111111111111111111111111111 etc.” But from practical considerations, the artist choose for an abbreviation and only three 1’s are kept as three is the most minimal number for a group.

The route started in August 2007. France.

The research:
When Camiela Warringa started this route in 2007, she wondered: What will happen, when a human (in this case herself) one day decides to do something of apparently little meaning, like sculpting little figures, placing them in an environment, shooting pictures of them, sharing the pictures on a website and keep pursuing this?
What if showing the route111 on the website to its own intimate environment is the only starting point?

Will its meaning change over time?
Will the pleasure of creating them remain.
Is a promise to yourself able tot sustain?
Does their sculpted form change over time?

Does the continuously changing landscape give meaning to the figures or the figures to the landscape?

As part of the research, both the sculpting process and the inner process, as well as what happens with the route will be reported.

Would you like to keep following the route or if you have comment/response to the route 111, the please send an e-mail via contact.