Nonetheless, after much negotiation with various government agencies (as is often the case with Walde's projects), The Big Perch, an urban pigeon house, was approved. It is still unclear whether today's urban pigeons are the result of breeding for culinary purposes, but in many cities these animals exist on the breadcrumbs scattered by the sentimental passer-by, and much effort is expended in keeping them away from the human sphere. But humans are also animals, and as Nietzsche wrote, we also have to distinguish between our responsibility and our obligation towards the animals that surround us, which we have bred, used, and exploited, and that we relish as food.
While not a politically correct artist subscribing to
legitimised notions of the "acceptable", Walde, in his
very personal way, demonstrates his ethics. The Big Perch is not necessarily ecologically minded in a
politically correct way, but is more of an attempt to
establish a new dialogue with what surrounds us.
From this point of view, Walde re-invests in the notion
of a new Situationism. However, these practices are
more evocative than pragmatic, and abstain from
instructional, educational or other didactic mechanisms
aimed to solicit communication, and that are
so often called upon within contemporary situational
or interactive practices. Consequently, his projects
provide us with the opportunity to see art less as a
one-sided effect than as a proactive possibility.For me, this represents incredible generosity. It does
not draw boundary lines; it does not impose its authority.
Instead it challenges all of us to go beyond the
traditional borders of interaction with an artwork.
There are no security barriers, no rules – we have to
make our own decisions. And this allows us an insight
into what the nature of artwork might be in the future.
The artist gives us the privilege of choice and challenges
our innermost reaction to art. It is however wrong
to assume that The Big Perch or Walde's other works
are contextual or public art projects. His artwork takes
place in indoor and outdoor locations, and takes into
consideration both existing infrastructures and situations
specifically arranged for the project. It is not
meant to satisfy the needs of local governments to
"support" art; it is meant to function as a visible,
sentient confrontation or provocation, even transformation
of the local reality.Lasting impressions and apparent simplicity are
not achieved without a great deal of research. Such
simplicity is actually the result of a sophisticated and
precise economy of means. Each project the artist
undertakes is carefully thought through, and often
involves the input of a wide assortment of professionals.
In this sense also, Walde's work is based on
co-operation and ... 
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