Home Depot is an art factory located in downtown Providence, Rhode Island obsessed with the idea of ‘More Doing.’ We are a do-it-yourself station for happening(s) and encounters, exploring new forms of reality to better inhabit the world. By interweaving food, art, commerce, fashion, music, and leisure, HD creates objects, moods, and environments that take up the task of addressing, questioning, and transforming the world in which it operates. The essence of a Home Depot event comes from the emergence of a peculiar opening of space and time, coercing a group of carefully curated humans to synergize their efforts in order to realize mutual desires. Nicolas Bourriaud, the father of Relational Aesthetics, believes that “the role of the artwork is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real.” No more dreaming of a future utopia, it’s right here in the present! It’s an intensification of everyday life that is penetrated by the marvelous. We need only you the customer complete our artistic model, by participating within the relational forms it produces. We can do it, You can help!

Home Depot is all about do-it-yourself culture, bringing forms of production closer to the artist and his interlocutors. The type of experience economy employed by Home Depot uses models of professional activity such as the boutique, restaurant, social club, and gallery as forms for the artistic production of commodities, services, and experiences. At Home Depot, Art is not a commodity, but rather a condition of life. The alternative economy Home Depot strives to achieve relies on transactions other than just monetary, emphasizing the encounter and utilizing Art as a vehicle for inclusive participation and collaboration of the instantly formed community. One need not only exchange cash for the cultural objects and experiences produced by HD.  He may exchange labor services, barter, or create more social relation--yet another perk of cultural do-it-yourself.

Socially engaged encounters and experiences at Home Depot facilitate social interstices, which are spaces opened up by artistic practice creating free areas of time and space whose rhythms contrast with the structures of everyday life. Karl Marx first used the term interstice to describe trading communities that evade the context of economic capitalism by removing itself from the law of profit. The interstice fits more or less congruous within the overall system, but suggests alternative possibilities of exchange and trade than those already in effect. The intentional communities that manifest themselves in this opening can live consciously outside of the law and are tempted to keep it up, even if it is for just a short time. Unlike forms of permanence which are standardized by ordinary consciousness and experience, the moment of uprising is concerned with progress and can only exist temporarily as a peak experience. By creating moments of intensity, HD shapes and gives meaning to everyday life through change and difference. We are not an exclusive end that attempts to replace other forms of simulation, organization, and tactics within our society, but rather a space that provides the quality of enhancement of everyday life. Home Depot makes an effort to avoid engagement with the State’s capitalist mediation of experience by creating its own system that liberates an area of space, time, and imagination which then dissolves back into the system before any spectacular intervention of the State, ready to reform once more remaining invisible to the agents of simulation.

The Home Depot experience is rooted in the conjunction of a location, temporal space, and social context, with the latter being of most importance. Home Depot is concerned with facilitating relationships between people and transforming societal structures and existing conditions within the world. We aim to (re)make subjectivities and discover the processes of inter-subjectivity between artist, participants, collaborators, and audience. It is a process of becoming, and in the realm of community life, of becoming-together. Within these processes of becoming, new subjectivities take shape that elude both established forms of knowledge and the dominant forms of power from the outside ‘real world.’ We try to put the right people, in the right place, at the right time, to create some kind of socially engineered Gesamtkunstwerk of musicians, cooks, artists, and participants. These happenings transcend and liberate an area of space, time and imagination, where hierarchical structures dissolve in conviviality, intensifying everyday life: spontaneity is crucial.