Warren & Mosley

Moving image: 4 minute loop as video projection.

Exhibited: CCA, Glasgow, 2003.

The Armory Show, New York, 2002.

Frederieke Taylor Gallery, New York, 2001.

Gasworks, London, 2000.

Prema, Glos, 2000.

We are interested in the moments and the places that we pass by and through on our way to somewhere else, our experience of stopping at a petrol station, driving on motorways and using service areas. These transient and introverted environments seem to be edited out of our consciousness. We are documenting, surveying and recording these moments and places. They have become our destinations.

Memories of a journey at night shows an image of a diesel canopy at night from a fixed viewpoint and projected large scale. All the vehicles passing through the canopy have been edited out at the time of filming and the only movement visible is of the cars and lorries on the motorway. This movement has been slowed down to achieve a quality of suspension and stillness. The stillness and the silence of the imagery draws the viewer into the space and allows them to experience the diesel canopy as a destination.

Dimensions: 280cm diameter x 72cm height, 150cm height of ground plane.

Materials: MDF, fluorescent light with daylight tube, emulsion paint, steel wire rope, rigid PVC.

Exhibited:

The Armory Show, New York, 2002.

Frederieke Taylor Gallery, New York, 2001.

Gasworks, London, 2000.

Prema, Glos, 2000.

Survey of a diesel canopy presents a view of a diesel station placed within a cylindrical form which is suspended from the ceiling. The ground plane is at eye level. The diesel station is stripped to its naked form and becomes generic. It is enclosed in a silent landscape and is isolated from what lies beyond. The piece allows the viewer to travel around it but the motion that is experienced is frozen. Any anticipation of arrival is denied to the viewer. The familiar becomes estranged.

Dimensions: 154cm width x 154cm length x 170cm height.

Materials: Fluorescent lights with daylight tubes, halogen light with yellow gel, synthetic oak, double glazed units, MDF, mirror, emulsion paint, powder coated steel, found chairs, headphones, sound, text.  Slide projection on floor near by.

Exhibited:

Gasworks, London, 2000.

Prema, Gloucestershire, 2000.

A Welcome Break presents a partially enclosed table-top model with a mirrored exterior and clear glass windows in two sides for viewing.  The model is fitted to a formed tubular steel frame with two fixed seats in relation to the windows, and sound on headphones.  The model describes a cafe at a motorway services as an interior that has been reduced to a floor, two walls, chairs and light.  The viewer is projected into this interior landscape through the sound of a person describing a visit there. An image of the floor pattern used in the model is projected to real scale close to the piece.  The projection and the mirrored exterior allow the model to shift in scale and take on the proportion of the space in which it is located.

Dimensions: 66cm width x 120cm depth x 30cm height.

Materials: Rigid PVC, neoprene, fluorescent lights with daylight tubes.

Exhibited: Prema, Gloucestershire, 2000.

This installation is in two parts and titled She said she couldn’t remember the details of the journey but could remember the impression that it left on her. The image is of a model of a cross section of a motorway [scale 1:8 ] extended back into space within a recess in a wall. The ground profile, walls and ceiling are lined with black neoprene. Drawing on a journey at night the piece suspends the viewer at the point between the known space lit by headlights and the unknown territory beyond. A moment and space in an ongoing journey is made physical and architectural, expanding it in time. The viewer is absorbed into the blackness of the motorway landscape and becomes aware of his or her presence in a space which is normally defined by absence of the figure.

Dimensions: 400cm width x 240cm height.

Materials: Emulsion paint, fluorescent lights with daylight tubes.

Exhibited:

Gasworks, London, 2000.

Prema, Gloucestershire, 2000.

The second part of the installation re-presents the cross section of the motorway, altered in physicality and in scale.  The cross section of the motorway and blue expanse are a plane painted on a wall which is eight metres in length.   The black abstracted motorway is simultaneously impenetrable and an extended three-dimensional space allowing the viewer to project into it.

The two motorway cross-sections relate to a sound piece of a person recounting their memories of a car journey, the memory of one is mapped onto the experience of another.