Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83734
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Work by Warren Quigley
Changing the Landscape
Artist: Warren Quigley
Work ID: 83676
Description: Site-specific public art installation. Harbourfront Artists’ Gardens, Toronto. Commissioned by Harbourfront Corporation.
Named after the automobile sales slogan used in a short-lived television ad in which a bucolic landscape of rolling hills becomes ominously covered by cars, this installation reverses the original intent of commercial monopoly. In the introduced landscape of the outdoor installation, the automobile is consumed by nature. Reclamation occurs due to its abandonment; the organic growths eventually obliterate the original form of the foreign object.
Measurements:
Collection:
Date Made: 1991
Materials:
Virtual Collection: Original CCCA
Changing the Landscape
Artist: Warren Quigley
Work ID: 83675
Description: Site-specific public art installation. Harbourfront Artists’ Gardens, Toronto. Commissioned by Harbourfront Corporation.
Named after the automobile sales slogan used in a short-lived television ad in which a bucolic landscape of rolling hills becomes ominously covered by cars, this installation reverses the original intent of commercial monopoly. In the introduced landscape of the outdoor installation, the automobile is consumed by nature. Reclamation occurs due to its abandonment; the organic growths eventually obliterate the original form of the foreign object.
Measurements: 38.28 sq. m
Collection:
Date Made: 1991
Materials:
Virtual Collection: Original CCCA
When the forest moves
Artist: Warren Quigley
Work ID: 83680
Description: Site-specific public art installation. Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
In When the forest moves, the garden is transformed into an allegorical scenario which parallels a literary classic with current environmental concerns. The ominous predictions made by the apparitions in Shakespeare’s Macbeth foreshadowed the demise of Macbeth through an advancing army camouflaged by moving trees; similarly, the movement of trees in an apocalyptic scenario of global warming warn us of the potentiality of habitat (in this case, the territory of sugar maple) destruction. The installation takes the form of three maple trees, with their burlap-wrapped root bags intact, situated at the end of a sculpted earth furrow which seems to have been dug out by the northbound scraping movement of the trees. Contained in the furrow is a residual trail of cast bronze text; this text, in hand-written script, consists of the story of the advancing trees in Macbeth.
Measurements: H:5m L:30m / W (rootballs):2m
Collection:
Date Made: 1995
Materials: 3 sugar maple trees, cast bronze text
Virtual Collection: Original CCCA
When the forest moves
Artist: Warren Quigley
Work ID: 83678
Description: Site-specific public art installation. Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
In When the forest moves, the garden is transformed into an allegorical scenario which parallels a literary classic with current environmental concerns. The ominous predictions made by the apparitions in Shakespeare’s Macbeth foreshadowed the demise of Macbeth through an advancing army camouflaged by moving trees; similarly, the movement of trees in an apocalyptic scenario of global warming warn us of the potentiality of habitat (in this case, the territory of sugar maple) destruction. The installation takes the form of three maple trees, with their burlap-wrapped root bags intact, situated at the end of a sculpted earth furrow which seems to have been dug out by the northbound scraping movement of the trees. Contained in the furrow is a residual trail of cast bronze text; this text, in hand-written script, consists of the story of the advancing trees in Macbeth.
Measurements: H:5m L:30m / W (rootballs):2m
Collection:
Date Made: 1995
Materials: 3 sugar maple trees, cast bronze text
Virtual Collection: Original CCCA
When the forest moves
Artist: Warren Quigley
Work ID: 83679
Description: Site-specific public art installation. Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
In When the forest moves, the garden is transformed into an allegorical scenario which parallels a literary classic with current environmental concerns. The ominous predictions made by the apparitions in Shakespeare’s Macbeth foreshadowed the demise of Macbeth through an advancing army camouflaged by moving trees; similarly, the movement of trees in an apocalyptic scenario of global warming warn us of the potentiality of habitat (in this case, the territory of sugar maple) destruction. The installation takes the form of three maple trees, with their burlap-wrapped root bags intact, situated at the end of a sculpted earth furrow which seems to have been dug out by the northbound scraping movement of the trees. Contained in the furrow is a residual trail of cast bronze text; this text, in hand-written script, consists of the story of the advancing trees in Macbeth.
Measurements: H:5m L:30m / W (rootballs):2m
Collection:
Date Made: 1995
Materials: 3 sugar maple trees, cast bronze text
Virtual Collection: Original CCCA
When the forest moves
Artist: Warren Quigley
Work ID: 83681
Description: Site-specific public art installation. Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
In When the forest moves, the garden is transformed into an allegorical scenario which parallels a literary classic with current environmental concerns. The ominous predictions made by the apparitions in Shakespeare’s Macbeth foreshadowed the demise of Macbeth through an advancing army camouflaged by moving trees; similarly, the movement of trees in an apocalyptic scenario of global warming warn us of the potentiality of habitat (in this case, the territory of sugar maple) destruction. The installation takes the form of three maple trees, with their burlap-wrapped root bags intact, situated at the end of a sculpted earth furrow which seems to have been dug out by the northbound scraping movement of the trees. Contained in the furrow is a residual trail of cast bronze text; this text, in hand-written script, consists of the story of the advancing trees in Macbeth.
Measurements: H:5m L:30m / W (rootballs):2m
Collection:
Date Made: 1995
Materials: 3 sugar maple trees, cast bronze text
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83690
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83689
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83688
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: installation, Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83687
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83683
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83684
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83686
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Greenroom
Artist: Warren Quigley
Work ID: 83685
Description: In collaboration with Millie Chen
Site-specific interactive public art installation: Toronto Sculpture Garden, Toronto. Commissioned by L.L.O. Sculpture Garden Foundation. Photos: William Greer
Designed for a small park set in the thick of a large urban centre’s downtown zone, this installation plays with notions of public and private space through the displacement of the most public room in a domestic setting – the living room. The varying hues of green (displayed in the second DVD image as a colour key) pigmenting the functional furnishings are sourced directly from nature and imitate vegetative outcroppings. The selection of these particular greens are based on their designation as distasteful/loud/dismal in certain interior design manuals. Within Greenroom, they ultimately serve as a subtle critique on the suspect ‘greening’ (i.e. pseudo ecological) trend of the cultivators of taste.
Measurements: 130 sq. m.
Collection:
Date Made: 1998
Materials: cast gelcoated fibreglass, steel, light fixtures
Virtual Collection: Original CCCA
Companions
Artist: Warren Quigley
Work ID: 83691
Description: Sculpture. For centuries, we have been breeding domestic animals to meet our desired specifications. We create purebred pets for aesthetic gratification, recreation and social status. Our genetic tinkering wreaks havoc with nature’s adaptive mechanisms. What are the limits of our desire for custom-made companions? The faux and real fur spheres in Companions suggest genetically engineered masses, caged to further emphasize controlled nature.
Measurements: H:3m D:1.5m W:1m
Collection:
Date Made: 1999
Materials: faux & real fur, steel cages
Virtual Collection: Original CCCA
Companions
Artist: Warren Quigley
Work ID: 83692
Description: Sculpture. For centuries, we have been breeding domestic animals to meet our desired specifications. We create purebred pets for aesthetic gratification, recreation and social status. Our genetic tinkering wreaks havoc with nature’s adaptive mechanisms. What are the limits of our desire for custom-made companions? The faux and real fur spheres in Companions suggest genetically engineered masses, caged to further emphasize controlled nature.
Measurements: H:3m D:1.5m W:1m
Collection:
Date Made: 1999
Materials: faux & real fur, steel cages
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83699
Description: As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83693
Description: Installation at ARTsPLACE, Annapolis Royal, Nova Scotia, 2005
As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83694
Description: Installation at Tank Loft Gallery, Chongqing, China, 2006
As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83695
Description: Installation at Rodman Hall Arts Centre, St. Catharines, Ontario, 2007. Photo: Isaac Applebaum
As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83696
Description: Installation at Fly Gallery, Toronto, 2007
As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83697
Description: Photo: Isaac Applebaum
As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83698
Description: As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83700
Description: As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Love Motel
Artist: Warren Quigley
Work ID: 83701
Description: Photo: Isaac Applebaum
As we motor down the highway towards our destination, do we seek a safe port, a cheap rent rendezvous, a hideout? We encounter a scenario, a vacated motel room, its temporary inhabitants gone. The bed awaits fresh sheets, the scene awaits new possibilities. Do we wonder about its previous occupants, about secret nocturnal occurrences?
This installation presents an environment of intrigue and suggestion through the arrangement of aspects of a motel room. Referencing bordellos from New Orleans from the turn of the previous century to love hotels of Asia in the 1960s and 70s to the North American roadside motels spawned by car culture, I present a scenario based on a studied ambiance and multiple potential narratives.
The stage is set, the room in disorder, unclean, the smell of Lysol and tobacco hanging in the air. Study the evidence. Pick up the phone and listen. What expectations do we - the new occupants, the next viewers – bring? What does this evoke in us? Are we voyeurs or participants?
Measurements: 1.044 x 0.522 m
Collection:
Date Made: 2005-7
Materials: neon sign, bed, Polaroids, various furnishings, telephone soundtrack, LED sign, video
Virtual Collection: Original CCCA
Moveable Garden
Artist: Warren Quigley
Work ID: 83714
Description: Public art installation: Harbourfront Centre, Toronto. Supported by Sheridan Nurseries and Toromont CAT. Canalside, Buffalo. Commissioned by Fluid Culture, University at Buffalo.
Ten thousand years ago, great sheets of ice came from the north, scraping clean everything in their path. As they receded, rock, gravel and soil were left in their wake. Today, giant earth moving machines scrape and excavate the earth, replacing it with rock, gravel, soil, tract housing and golf courses. Maybe through our interventions the glaciers will return, or maybe they will return anyway, or maybe we shouldn’t worry, just wait. Ten thousand years is a long time.
Moveable Garden is a landscape on the move, planted as a bermed plot covered with winter vegetation that is visually being pushed along by an earth-moving construction vehicle. Moveable Garden follows in the trail left by my previous garden-based installations, in particular Changing the Landscape (1991, Harbourfront Artists’ Gardens) and When the forest moves (1995, Toronto Sculpture Garden), contemplating the effects of human impact on nature through a cautionary but playful juxtaposition of plant material and constructed forms.
Measurements: 17.4 sq. m
Collection:
Date Made: 2007
Materials: bulldozer, pine, juniper, cedar, larch, winter grasses, rocks, soil
Virtual Collection: Original CCCA
Extreme Centre
Artist: Warren Quigley
Work ID: 83710
Description: In collaboration with Millie Chen
Audio installation. “Extreme Centre,” Centre culturel canadien, Paris, France. Curated by Gilles Forest, Catherine Bédard. Commissioned by Centre culturel canadien and Centre d’art contemporain de Basse-Normandie. Photos: Didier Morel
Extreme Centre, made in collaboration with Millie Chen, is an audio installation in the form of a maze. As visitors negotiate the twisting passages, they hear a cacophony of whispering, issued from speakers set into the passage walls. The sound of whispering ushers visitors along the passages but also engenders a range of reactions from unease, insecurity and paranoia to intimacy and the conspiratorial. Concentrating on individual speakers, the listener can then decipher text, sourced from a range of authors across vast geographies, epochs and political positions. The common denominator of all the text is the arguable categorization of “extreme.”
“Extreme” is a term that is defined as being unreasonable, abnormal or unacceptable, far out from the centre of a civil society. However, the term is almost always applied by others rather than by a group labeling itself. Authors whose words are labeled “extreme” position themselves in a self-defined centre.
The use of the oxymoron “extreme centre” is intended to focus on this contradiction. The words of individuals as disparate as Idi Amin Dada, Steven Biko, Catherine the Great, Dayglo Abortions, Marquis de Sade, David Duke, Louis Farrakhan, Herman Hesse, Mahatma Gandhi, Heinrich Himmler, Abbie Hoffman, Ho Chi Minh, Marin Luther King Jr., Genghis Khan, Nikita Khrushchev, Charles Manson, Mao Zedong, F.T. Marinetti, Golda Meir, Augusto Pinochet, Plato, Pol Pot, Jean-Paul Sartre, Sex Pistols, Bob Dylan, Gloira Steinem, Valerie Solanas, Leon Trotsky, François Truffaut, Oscar Wilde and Emiliano Zapata are juxtaposed with one another in the shifting, morphing, clashing and merging of political and philosophical convictions. The only stability of the centre is its constant state of flux.
Measurements: Installation. 77 sq. m
Collection:
Date Made: 2007
Materials: 32 speakers, 2 pro amplifiers, 16 cd players, fabric covered built walls
Virtual Collection: Original CCCA
Moveable Garden
Artist: Warren Quigley
Work ID: 83712
Description: Public art installation: Harbourfront Centre, Toronto. Supported by Sheridan Nurseries and Toromont CAT. Canalside, Buffalo. Commissioned by Fluid Culture, University at Buffalo.
Ten thousand years ago, great sheets of ice came from the north, scraping clean everything in their path. As they receded, rock, gravel and soil were left in their wake. Today, giant earth moving machines scrape and excavate the earth, replacing it with rock, gravel, soil, tract housing and golf courses. Maybe through our interventions the glaciers will return, or maybe they will return anyway, or maybe we shouldn’t worry, just wait. Ten thousand years is a long time.
Moveable Garden is a landscape on the move, planted as a bermed plot covered with winter vegetation that is visually being pushed along by an earth-moving construction vehicle. Moveable Garden follows in the trail left by my previous garden-based installations, in particular Changing the Landscape (1991, Harbourfront Artists’ Gardens) and When the forest moves (1995, Toronto Sculpture Garden), contemplating the effects of human impact on nature through a cautionary but playful juxtaposition of plant material and constructed forms.
Measurements: 17.4 sq. m
Collection:
Date Made: 2007
Materials: bulldozer, pine, juniper, cedar, larch, winter grasses, rocks, soil
Virtual Collection: Original CCCA
Extreme Centre
Artist: Warren Quigley
Work ID: 83709
Description: In collaboration with Millie Chen
Audio installation. “Extreme Centre,” Centre culturel canadien, Paris, France. Curated by Gilles Forest, Catherine Bédard. Commissioned by Centre culturel canadien and Centre d’art contemporain de Basse-Normandie. Photos: Didier Morel
Extreme Centre, made in collaboration with Millie Chen, is an audio installation in the form of a maze. As visitors negotiate the twisting passages, they hear a cacophony of whispering, issued from speakers set into the passage walls. The sound of whispering ushers visitors along the passages but also engenders a range of reactions from unease, insecurity and paranoia to intimacy and the conspiratorial. Concentrating on individual speakers, the listener can then decipher text, sourced from a range of authors across vast geographies, epochs and political positions. The common denominator of all the text is the arguable categorization of “extreme.”
“Extreme” is a term that is defined as being unreasonable, abnormal or unacceptable, far out from the centre of a civil society. However, the term is almost always applied by others rather than by a group labeling itself. Authors whose words are labeled “extreme” position themselves in a self-defined centre.
The use of the oxymoron “extreme centre” is intended to focus on this contradiction. The words of individuals as disparate as Idi Amin Dada, Steven Biko, Catherine the Great, Dayglo Abortions, Marquis de Sade, David Duke, Louis Farrakhan, Herman Hesse, Mahatma Gandhi, Heinrich Himmler, Abbie Hoffman, Ho Chi Minh, Marin Luther King Jr., Genghis Khan, Nikita Khrushchev, Charles Manson, Mao Zedong, F.T. Marinetti, Golda Meir, Augusto Pinochet, Plato, Pol Pot, Jean-Paul Sartre, Sex Pistols, Bob Dylan, Gloira Steinem, Valerie Solanas, Leon Trotsky, François Truffaut, Oscar Wilde and Emiliano Zapata are juxtaposed with one another in the shifting, morphing, clashing and merging of political and philosophical convictions. The only stability of the centre is its constant state of flux.
Measurements: Installation. 77 sq. m
Collection:
Date Made: 2007
Materials: 32 speakers, 2 pro amplifiers, 16 cd players, fabric covered built walls
Virtual Collection: Original CCCA
Extreme Centre
Artist: Warren Quigley
Work ID: 83711
Description: In collaboration with Millie Chen
Audio installation. “Extreme Centre,” Centre culturel canadien, Paris, France. Curated by Gilles Forest, Catherine Bédard. Commissioned by Centre culturel canadien and Centre d’art contemporain de Basse-Normandie. Photos: Didier Morel
Extreme Centre, made in collaboration with Millie Chen, is an audio installation in the form of a maze. As visitors negotiate the twisting passages, they hear a cacophony of whispering, issued from speakers set into the passage walls. The sound of whispering ushers visitors along the passages but also engenders a range of reactions from unease, insecurity and paranoia to intimacy and the conspiratorial. Concentrating on individual speakers, the listener can then decipher text, sourced from a range of authors across vast geographies, epochs and political positions. The common denominator of all the text is the arguable categorization of “extreme.”
“Extreme” is a term that is defined as being unreasonable, abnormal or unacceptable, far out from the centre of a civil society. However, the term is almost always applied by others rather than by a group labeling itself. Authors whose words are labeled “extreme” position themselves in a self-defined centre.
The use of the oxymoron “extreme centre” is intended to focus on this contradiction. The words of individuals as disparate as Idi Amin Dada, Steven Biko, Catherine the Great, Dayglo Abortions, Marquis de Sade, David Duke, Louis Farrakhan, Herman Hesse, Mahatma Gandhi, Heinrich Himmler, Abbie Hoffman, Ho Chi Minh, Marin Luther King Jr., Genghis Khan, Nikita Khrushchev, Charles Manson, Mao Zedong, F.T. Marinetti, Golda Meir, Augusto Pinochet, Plato, Pol Pot, Jean-Paul Sartre, Sex Pistols, Bob Dylan, Gloira Steinem, Valerie Solanas, Leon Trotsky, François Truffaut, Oscar Wilde and Emiliano Zapata are juxtaposed with one another in the shifting, morphing, clashing and merging of political and philosophical convictions. The only stability of the centre is its constant state of flux.
Measurements: Installation. 77 sq. m
Collection:
Date Made: 2007
Materials: 32 speakers, 2 pro amplifiers, 16 cd players, fabric covered built walls
Virtual Collection: Original CCCA
Call Centre
Artist: Warren Quigley
Work ID: 83703
Description: Interactive audio installation: York Quay Gallery, Harbourfront Centre, Toronto. Curated by Patrick Macaulay.
Call Centre sets up an opportunity for interactive exchange based on telemarketing strategies and telephone solicitation. It takes the form of a telephone call centre consisting of two different stations, each furnished with a desk, chair and telephone. At one station at random moments, regular incoming calls cause the telephone to ring, prompting visitors and passersby to pick up the receiver and participate in a scripted survey with a live Call Centre agent. At the second station, participants who pick up the handset are automatically connected to a voice mailbox where they are prompted to respond to a differing pre-recorded survey. Both surveys subtly prod the visitor to participate in an interaction that is simultaneously familiar and uncomfortable, while the intended goals of the surveys remain in the murky boundaries outside of commercial enterprise and statistics collection.
Measurements: 10.44 sq.ft.
Collection:
Date Made: 2007
Materials: office furniture, telephones, office supplies, wall text
Virtual Collection: Original CCCA
Moveable Garden
Artist: Warren Quigley
Work ID: 83715
Description: Public art installation: Harbourfront Centre, Toronto. Supported by Sheridan Nurseries and Toromont CAT. Canalside, Buffalo. Commissioned by Fluid Culture, University at Buffalo.
Ten thousand years ago, great sheets of ice came from the north, scraping clean everything in their path. As they receded, rock, gravel and soil were left in their wake. Today, giant earth moving machines scrape and excavate the earth, replacing it with rock, gravel, soil, tract housing and golf courses. Maybe through our interventions the glaciers will return, or maybe they will return anyway, or maybe we shouldn’t worry, just wait. Ten thousand years is a long time.
Moveable Garden is a landscape on the move, planted as a bermed plot covered with winter vegetation that is visually being pushed along by an earth-moving construction vehicle. Moveable Garden follows in the trail left by my previous garden-based installations, in particular Changing the Landscape (1991, Harbourfront Artists’ Gardens) and When the forest moves (1995, Toronto Sculpture Garden), contemplating the effects of human impact on nature through a cautionary but playful juxtaposition of plant material and constructed forms.
Measurements: 17.4 sq. m
Collection:
Date Made: 2007
Materials: bulldozer, pine, juniper, cedar, larch, winter grasses, rocks, soil
Virtual Collection: Original CCCA
Call Centre
Artist: Warren Quigley
Work ID: 83702
Description: Interactive audio installation: York Quay Gallery, Harbourfront Centre, Toronto. Curated by Patrick Macaulay.
Call Centre sets up an opportunity for interactive exchange based on telemarketing strategies and telephone solicitation. It takes the form of a telephone call centre consisting of two different stations, each furnished with a desk, chair and telephone. At one station at random moments, regular incoming calls cause the telephone to ring, prompting visitors and passersby to pick up the receiver and participate in a scripted survey with a live Call Centre agent. At the second station, participants who pick up the handset are automatically connected to a voice mailbox where they are prompted to respond to a differing pre-recorded survey. Both surveys subtly prod the visitor to participate in an interaction that is simultaneously familiar and uncomfortable, while the intended goals of the surveys remain in the murky boundaries outside of commercial enterprise and statistics collection.
Measurements: 10.44 sq.ft.
Collection:
Date Made: 2007
Materials: office furniture, telephones, office supplies, wall text
Virtual Collection: Original CCCA
Moveable Garden
Artist: Warren Quigley
Work ID: 83713
Description: Public art installation: Harbourfront Centre, Toronto. Supported by Sheridan Nurseries and Toromont CAT. Canalside, Buffalo. Commissioned by Fluid Culture, University at Buffalo.
Ten thousand years ago, great sheets of ice came from the north, scraping clean everything in their path. As they receded, rock, gravel and soil were left in their wake. Today, giant earth moving machines scrape and excavate the earth, replacing it with rock, gravel, soil, tract housing and golf courses. Maybe through our interventions the glaciers will return, or maybe they will return anyway, or maybe we shouldn’t worry, just wait. Ten thousand years is a long time.
Moveable Garden is a landscape on the move, planted as a bermed plot covered with winter vegetation that is visually being pushed along by an earth-moving construction vehicle. Moveable Garden follows in the trail left by my previous garden-based installations, in particular Changing the Landscape (1991, Harbourfront Artists’ Gardens) and When the forest moves (1995, Toronto Sculpture Garden), contemplating the effects of human impact on nature through a cautionary but playful juxtaposition of plant material and constructed forms.
Measurements: 17.4 sq. m
Collection:
Date Made: 2007
Materials: bulldozer, pine, juniper, cedar, larch, winter grasses, rocks, soil
Virtual Collection: Original CCCA
Extreme Centre
Artist: Warren Quigley
Work ID: 83707
Description: In collaboration with Millie Chen
Audio installation. “Extreme Centre,” Centre culturel canadien, Paris, France. Curated by Gilles Forest, Catherine Bédard. Commissioned by Centre culturel canadien and Centre d’art contemporain de Basse-Normandie. Photos: Didier Morel
Extreme Centre, made in collaboration with Millie Chen, is an audio installation in the form of a maze. As visitors negotiate the twisting passages, they hear a cacophony of whispering, issued from speakers set into the passage walls. The sound of whispering ushers visitors along the passages but also engenders a range of reactions from unease, insecurity and paranoia to intimacy and the conspiratorial. Concentrating on individual speakers, the listener can then decipher text, sourced from a range of authors across vast geographies, epochs and political positions. The common denominator of all the text is the arguable categorization of “extreme.”
“Extreme” is a term that is defined as being unreasonable, abnormal or unacceptable, far out from the centre of a civil society. However, the term is almost always applied by others rather than by a group labeling itself. Authors whose words are labeled “extreme” position themselves in a self-defined centre.
The use of the oxymoron “extreme centre” is intended to focus on this contradiction. The words of individuals as disparate as Idi Amin Dada, Steven Biko, Catherine the Great, Dayglo Abortions, Marquis de Sade, David Duke, Louis Farrakhan, Herman Hesse, Mahatma Gandhi, Heinrich Himmler, Abbie Hoffman, Ho Chi Minh, Marin Luther King Jr., Genghis Khan, Nikita Khrushchev, Charles Manson, Mao Zedong, F.T. Marinetti, Golda Meir, Augusto Pinochet, Plato, Pol Pot, Jean-Paul Sartre, Sex Pistols, Bob Dylan, Gloira Steinem, Valerie Solanas, Leon Trotsky, François Truffaut, Oscar Wilde and Emiliano Zapata are juxtaposed with one another in the shifting, morphing, clashing and merging of political and philosophical convictions. The only stability of the centre is its constant state of flux.
Measurements: Installation. 77 sq. m
Collection:
Date Made: 2007
Materials: 32 speakers, 2 pro amplifiers, 16 cd players, fabric covered built walls
Virtual Collection: Original CCCA
Call Centre
Artist: Warren Quigley
Work ID: 83705
Description: Interactive audio installation: York Quay Gallery, Harbourfront Centre, Toronto. Curated by Patrick Macaulay.
Call Centre sets up an opportunity for interactive exchange based on telemarketing strategies and telephone solicitation. It takes the form of a telephone call centre consisting of two different stations, each furnished with a desk, chair and telephone. At one station at random moments, regular incoming calls cause the telephone to ring, prompting visitors and passersby to pick up the receiver and participate in a scripted survey with a live Call Centre agent. At the second station, participants who pick up the handset are automatically connected to a voice mailbox where they are prompted to respond to a differing pre-recorded survey. Both surveys subtly prod the visitor to participate in an interaction that is simultaneously familiar and uncomfortable, while the intended goals of the surveys remain in the murky boundaries outside of commercial enterprise and statistics collection.
Measurements: 10.44 sq.ft.
Collection:
Date Made: 2007
Materials: office furniture, telephones, office supplies, wall text
Virtual Collection: Original CCCA
Call Centre
Artist: Warren Quigley
Work ID: 83704
Description: Interactive audio installation: York Quay Gallery, Harbourfront Centre, Toronto. Curated by Patrick Macaulay.
Call Centre sets up an opportunity for interactive exchange based on telemarketing strategies and telephone solicitation. It takes the form of a telephone call centre consisting of two different stations, each furnished with a desk, chair and telephone. At one station at random moments, regular incoming calls cause the telephone to ring, prompting visitors and passersby to pick up the receiver and participate in a scripted survey with a live Call Centre agent. At the second station, participants who pick up the handset are automatically connected to a voice mailbox where they are prompted to respond to a differing pre-recorded survey. Both surveys subtly prod the visitor to participate in an interaction that is simultaneously familiar and uncomfortable, while the intended goals of the surveys remain in the murky boundaries outside of commercial enterprise and statistics collection.
Measurements: 10.44 sq.ft.
Collection:
Date Made: 2007
Materials: office furniture, telephones, office supplies, wall text
Virtual Collection: Original CCCA
Extreme Centre
Artist: Warren Quigley
Work ID: 83708
Description: In collaboration with Millie Chen
Audio installation. “Extreme Centre,” Centre culturel canadien, Paris, France. Curated by Gilles Forest, Catherine Bédard. Commissioned by Centre culturel canadien and Centre d’art contemporain de Basse-Normandie. Photos: Didier Morel
Extreme Centre, made in collaboration with Millie Chen, is an audio installation in the form of a maze. As visitors negotiate the twisting passages, they hear a cacophony of whispering, issued from speakers set into the passage walls. The sound of whispering ushers visitors along the passages but also engenders a range of reactions from unease, insecurity and paranoia to intimacy and the conspiratorial. Concentrating on individual speakers, the listener can then decipher text, sourced from a range of authors across vast geographies, epochs and political positions. The common denominator of all the text is the arguable categorization of “extreme.”
“Extreme” is a term that is defined as being unreasonable, abnormal or unacceptable, far out from the centre of a civil society. However, the term is almost always applied by others rather than by a group labeling itself. Authors whose words are labeled “extreme” position themselves in a self-defined centre.
The use of the oxymoron “extreme centre” is intended to focus on this contradiction. The words of individuals as disparate as Idi Amin Dada, Steven Biko, Catherine the Great, Dayglo Abortions, Marquis de Sade, David Duke, Louis Farrakhan, Herman Hesse, Mahatma Gandhi, Heinrich Himmler, Abbie Hoffman, Ho Chi Minh, Marin Luther King Jr., Genghis Khan, Nikita Khrushchev, Charles Manson, Mao Zedong, F.T. Marinetti, Golda Meir, Augusto Pinochet, Plato, Pol Pot, Jean-Paul Sartre, Sex Pistols, Bob Dylan, Gloira Steinem, Valerie Solanas, Leon Trotsky, François Truffaut, Oscar Wilde and Emiliano Zapata are juxtaposed with one another in the shifting, morphing, clashing and merging of political and philosophical convictions. The only stability of the centre is its constant state of flux.
Measurements: Installation. 77 sq. m
Collection:
Date Made: 2007
Materials: 32 speakers, 2 pro amplifiers, 16 cd players, fabric covered built walls
Virtual Collection: Original CCCA
Call Centre
Artist: Warren Quigley
Work ID: 83706
Description: Interactive audio installation: York Quay Gallery, Harbourfront Centre, Toronto. Curated by Patrick Macaulay.
Call Centre sets up an opportunity for interactive exchange based on telemarketing strategies and telephone solicitation. It takes the form of a telephone call centre consisting of two different stations, each furnished with a desk, chair and telephone. At one station at random moments, regular incoming calls cause the telephone to ring, prompting visitors and passersby to pick up the receiver and participate in a scripted survey with a live Call Centre agent. At the second station, participants who pick up the handset are automatically connected to a voice mailbox where they are prompted to respond to a differing pre-recorded survey. Both surveys subtly prod the visitor to participate in an interaction that is simultaneously familiar and uncomfortable, while the intended goals of the surveys remain in the murky boundaries outside of commercial enterprise and statistics collection.
Measurements: 10.44 sq.ft.
Collection:
Date Made: 2007
Materials: office furniture, telephones, office supplies, wall text
Virtual Collection: Original CCCA
erratic
Artist: Warren Quigley
Work ID: 83719
Description: Sculpture. York Quay Gallery, Harbourfront, Toronto.
erratic is an installation comprised of 37 wooden spheres, ranging in size, egalitarian and random. These spherical shapes are universal and architectonic. Nature favours this shape due to its efficiency, forming the earth, the sun, blueberries, raindrops, and beetle dung, to name but a few examples. Humans are constantly drawn to this shape, forming ball bearings, cannon balls, ping pong balls, and bubble tea, to name but a few examples.
Measurements: 10m x 15m x 1.3m
Collection:
Date Made: 2010
Materials: wood of dead and dangerous trees (cottonwood, oak, ash, maple, beech, cherry, poplar, walnut)
Virtual Collection: Original CCCA
erratic
Artist: Warren Quigley
Work ID: 83717
Description: Sculpture. York Quay Gallery, Harbourfront, Toronto.
erratic is an installation comprised of 37 wooden spheres, ranging in size, egalitarian and random. These spherical shapes are universal and architectonic. Nature favours this shape due to its efficiency, forming the earth, the sun, blueberries, raindrops, and beetle dung, to name but a few examples. Humans are constantly drawn to this shape, forming ball bearings, cannon balls, ping pong balls, and bubble tea, to name but a few examples.
Measurements: 10m x 15m x 1.3m
Collection:
Date Made: 2010
Materials: wood of dead and dangerous trees (cottonwood, oak, ash, maple, beech, cherry, poplar, walnut)
Virtual Collection: Original CCCA
erratic
Artist: Warren Quigley
Work ID: 83718
Description: Sculpture. York Quay Gallery, Harbourfront, Toronto.
erratic is an installation comprised of 37 wooden spheres, ranging in size, egalitarian and random. These spherical shapes are universal and architectonic. Nature favours this shape due to its efficiency, forming the earth, the sun, blueberries, raindrops, and beetle dung, to name but a few examples. Humans are constantly drawn to this shape, forming ball bearings, cannon balls, ping pong balls, and bubble tea, to name but a few examples.
Measurements: 10m x 15m x 1.3m
Collection:
Date Made: 2010
Materials: wood of dead and dangerous trees (cottonwood, oak, ash, maple, beech, cherry, poplar, walnut)
Virtual Collection: Original CCCA
Survival Guide & Kit
Artist: Warren Quigley
Work ID: 83722
Description: Installation. Convenience Gallery, Toronto.
Fictitious retail outlet providing tools for surviving a range of catastrophes. Tools include first aid kit, gas mask, anti-nuclear pills, water purification tablets, maps, compass, binoculars, woodcraft knife, trenching tool and pick, portable chainsaw-in-a-can, flint tool, self-powered weatherband portable radio, waterproof shoulder bag, hermetically sealed non-hybrid seed bank, etc. This installation constitutes one site-specific installment of a series of installations, including at the Contemporary Art Institute of Detroit, curated by Nick Tobier, at the Western New York Bookarts Cooperative, curated by John Massier as part of Beyond/In Western New York biennial 2010, and Wharf, Centre d’art contemporain de Basse-Normandie, curated by Gilles Forest.
Measurements: 3m x 1.5m x 3m
Collection:
Date Made: 2010-11
Materials: photo mural, oil drum, mannequin, Survival Kit supplies, Survival Guide
Virtual Collection: Original CCCA
Survival Guide & Kit
Artist: Warren Quigley
Work ID: 83721
Description: Installation. Convenience Gallery, Toronto.
Fictitious retail outlet providing tools for surviving a range of catastrophes. Tools include first aid kit, gas mask, anti-nuclear pills, water purification tablets, maps, compass, binoculars, woodcraft knife, trenching tool and pick, portable chainsaw-in-a-can, flint tool, self-powered weatherband portable radio, waterproof shoulder bag, hermetically sealed non-hybrid seed bank, etc. This installation constitutes one site-specific installment of a series of installations, including at the Contemporary Art Institute of Detroit, curated by Nick Tobier, at the Western New York Bookarts Cooperative, curated by John Massier as part of Beyond/In Western New York biennial 2010, and Wharf, Centre d’art contemporain de Basse-Normandie, curated by Gilles Forest.
Measurements: 3m x 1.5m x 3m
Collection:
Date Made: 2010-11
Materials: photo mural, oil drum, mannequin, Survival Kit supplies, Survival Guide
Virtual Collection: Original CCCA
Survival Guide detail
Artist: Warren Quigley
Work ID: 83724
Description:
Measurements: 130cm x 180cm x 12cm
Collection:
Date Made: 2010-11
Materials: book with survival tips, recipes for vermin and invasive species, philosophy, 50 pages
Virtual Collection: Original CCCA
Survival Guide detail
Artist: Warren Quigley
Work ID: 83725
Description:
Measurements: 130cm x 180cm x 12cm
Collection:
Date Made: 2010-11
Materials: book with survival tips, recipes for vermin and invasive species, philosophy, 50 pages
Virtual Collection: Original CCCA
Survival Guide & Kit
Artist: Warren Quigley
Work ID: 83720
Description: Installation. Convenience Gallery, Toronto.
Fictitious retail outlet providing tools for surviving a range of catastrophes. Tools include first aid kit, gas mask, anti-nuclear pills, water purification tablets, maps, compass, binoculars, woodcraft knife, trenching tool and pick, portable chainsaw-in-a-can, flint tool, self-powered weatherband portable radio, waterproof shoulder bag, hermetically sealed non-hybrid seed bank, etc. This installation constitutes one site-specific installment of a series of installations, including at the Contemporary Art Institute of Detroit, curated by Nick Tobier, at the Western New York Bookarts Cooperative, curated by John Massier as part of Beyond/In Western New York biennial 2010, and Wharf, Centre d’art contemporain de Basse-Normandie, curated by Gilles Forest.
Measurements: 3m x 1.5m x 3m
Collection:
Date Made: 2010-11
Materials: photo mural, oil drum, mannequin, Survival Kit supplies, Survival Guide
Virtual Collection: Original CCCA
Survival Guide detail
Artist: Warren Quigley
Work ID: 83727
Description:
Measurements: 130cm x 180cm x 12cm
Collection:
Date Made: 2010-11
Materials: book with survival tips, recipes for vermin and invasive species, philosophy, 50 pages
Virtual Collection: Original CCCA
Survival Guide & Kit
Artist: Warren Quigley
Work ID: 83723
Description: Installation. Convenience Gallery, Toronto.
Fictitious retail outlet providing tools for surviving a range of catastrophes. Tools include first aid kit, gas mask, anti-nuclear pills, water purification tablets, maps, compass, binoculars, woodcraft knife, trenching tool and pick, portable chainsaw-in-a-can, flint tool, self-powered weatherband portable radio, waterproof shoulder bag, hermetically sealed non-hybrid seed bank, etc. This installation constitutes one site-specific installment of a series of installations, including at the Contemporary Art Institute of Detroit, curated by Nick Tobier, at the Western New York Bookarts Cooperative, curated by John Massier as part of Beyond/In Western New York biennial 2010, and Wharf, Centre d’art contemporain de Basse-Normandie, curated by Gilles Forest.
Measurements: 3m x 1.5m x 3m
Collection:
Date Made: 2010-11
Materials: photo mural, oil drum, mannequin, Survival Kit supplies, Survival Guide
Virtual Collection: Original CCCA
Survival Guide detail
Artist: Warren Quigley
Work ID: 83726
Description:
Measurements: 130cm x 180cm x 12cm
Collection:
Date Made: 2010-11
Materials: book with survival tips, recipes for vermin and invasive species, philosophy, 50 pages
Virtual Collection: Original CCCA
Survival Guide detail
Artist: Warren Quigley
Work ID: 83728
Description:
Measurements: 130cm x 180cm x 12cm
Collection:
Date Made: 2010-11
Materials: book with survival tips, recipes for vermin and invasive species, philosophy, 50 pages
Virtual Collection: Original CCCA
Survival Guide & Kit
Artist: Warren Quigley
Work ID: 83729
Description: Installation. Convenience Gallery, Toronto.
Fictitious retail outlet providing tools for surviving a range of catastrophes. Tools include first aid kit, gas mask, anti-nuclear pills, water purification tablets, maps, compass, binoculars, woodcraft knife, trenching tool and pick, portable chainsaw-in-a-can, flint tool, self-powered weatherband portable radio, waterproof shoulder bag, hermetically sealed non-hybrid seed bank, etc. This installation constitutes one site-specific installment of a series of installations, including at the Contemporary Art Institute of Detroit, curated by Nick Tobier, at the Western New York Bookarts Cooperative, curated by John Massier as part of Beyond/In Western New York biennial 2010, and Wharf, Centre d’art contemporain de Basse-Normandie, curated by Gilles Forest.
Measurements: 3m x 1.5m x 3m
Collection:
Date Made: 2010-11
Materials: photo mural, oil drum, mannequin, Survival Kit supplies, Survival Guide
Virtual Collection: Original CCCA
Moveable Garden
Artist: Warren Quigley
Work ID: 83716
Description: Public art installation: Canalside, Buffalo. Commissioned by Fluid Culture, University at Buffalo.
Measurements: 17.4 sq. m
Collection:
Date Made: 2011
Materials: bulldozer, transplanted weeds, shrubs, trees, rocks, soil
Virtual Collection: Original CCCA
Wanna be my survival buddy?
Artist: Warren Quigley
Work ID: 83733
Description: Site-specific public art installation. The Tree Museum, Muskoka, Ontario. Commissioned by The Tree Museum.
By creating a text-based work, and mounting small laser etched panels on dead trees, I treated the Tree Museum as an “open book.” Content for this “book” was sourced from collected quotes, remembered conversations, and journal notes. Humans have only roamed the planet for one hundred thousand years, and given our perceived precarious existence presently, and the knowledge that ninety percent of all life forms that have inhabited the earth are currently extinct, it would seem ill conceived that we are immune from this fate. I present musings, and fact-based thoughts on strategies to best contemplate my fear of the future.
Measurements: 8 ½” x 11” each (10 panels)
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83739
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Wanna be my survival buddy?
Artist: Warren Quigley
Work ID: 83732
Description: Site-specific public art installation. The Tree Museum, Muskoka, Ontario. Commissioned by The Tree Museum.
By creating a text-based work, and mounting small laser etched panels on dead trees, I treated the Tree Museum as an “open book.” Content for this “book” was sourced from collected quotes, remembered conversations, and journal notes. Humans have only roamed the planet for one hundred thousand years, and given our perceived precarious existence presently, and the knowledge that ninety percent of all life forms that have inhabited the earth are currently extinct, it would seem ill conceived that we are immune from this fate. I present musings, and fact-based thoughts on strategies to best contemplate my fear of the future.
Measurements: 8 ½” x 11” each (10 panels)
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83737
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Wanna be my survival buddy?
Artist: Warren Quigley
Work ID: 83730
Description: Site-specific public art installation. The Tree Museum, Muskoka, Ontario. Commissioned by The Tree Museum.
By creating a text-based work, and mounting small laser etched panels on dead trees, I treated the Tree Museum as an “open book.” Content for this “book” was sourced from collected quotes, remembered conversations, and journal notes. Humans have only roamed the planet for one hundred thousand years, and given our perceived precarious existence presently, and the knowledge that ninety percent of all life forms that have inhabited the earth are currently extinct, it would seem ill conceived that we are immune from this fate. I present musings, and fact-based thoughts on strategies to best contemplate my fear of the future.
Measurements: 8 ½” x 11” each (10 panels)
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83734
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83736
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83738
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: installation, Original CCCA
Ministry for Future Modification: Beijing Office
Artist: Warren Quigley
Work ID: 83735
Description: This installation transforms the gallery into an officially appointed technological control center that can theoretically chart both the physical and psychological shifts of unsanctioned actions. Be it undesirable weather or unsavory behavior, the Ministry for Future Modification is mandated to monitor destabilizing change. Is such an enterprise predestined for failure? The obvious pitfalls of such an enterprise are suggested through the inundation of a chaotic exterior landscape into the controlled interior of an office setting. The juxtaposition of the official “memo” with the scenario suggested by the installation is intended to accentuate this incongruity.
Measurements: 6.96 sq. m
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Wanna be my survival buddy?
Artist: Warren Quigley
Work ID: 83731
Description: Site-specific public art installation. The Tree Museum, Muskoka, Ontario. Commissioned by The Tree Museum.
By creating a text-based work, and mounting small laser etched panels on dead trees, I treated the Tree Museum as an “open book.” Content for this “book” was sourced from collected quotes, remembered conversations, and journal notes. Humans have only roamed the planet for one hundred thousand years, and given our perceived precarious existence presently, and the knowledge that ninety percent of all life forms that have inhabited the earth are currently extinct, it would seem ill conceived that we are immune from this fate. I present musings, and fact-based thoughts on strategies to best contemplate my fear of the future.
Measurements: 8 ½” x 11” each (10 panels)
Collection:
Date Made: 2012
Virtual Collection: Original CCCA
Human Sweat Generator
Artist: Warren Quigley
Work ID: 83740
Description: Imagine a time when the source of cheap energy is exhausted, an end of the great machine age. On the bed of a (tractor) trailer this float contains machines of the future, fundamental and modest in their construction and scope. These machines are dependent on human muscle to produce electricity. The human-generated electricity powered a multitude of devices, lighting systems, sound systems and projection systems. The content of the audio was comprised of 5 soundtracks of emergency warning alerts broadcast as prerecorded onomatopoeic vocalizations. Borrowing from the Theatre of the Absurd, a sensible/nonsensical, but mainly truthful, narrative to disrupt the flow of spectacle will be presented.
Measurements: W:8’16” L:48’ H: 13’4”
Collection:
Date Made: 2013
Materials: flatbed trailer, 5 bicycles, 5 generators, 10 speakers, 5 mp3 players
Virtual Collection: Original CCCA
Human Sweat Generator
Artist: Warren Quigley
Work ID: 83743
Description: Imagine a time when the source of cheap energy is exhausted, an end of the great machine age. On the bed of a (tractor) trailer this float contains machines of the future, fundamental and modest in their construction and scope. These machines are dependent on human muscle to produce electricity. The human-generated electricity powered a multitude of devices, lighting systems, sound systems and projection systems. The content of the audio was comprised of 5 soundtracks of emergency warning alerts broadcast as prerecorded onomatopoeic vocalizations. Borrowing from the Theatre of the Absurd, a sensible/nonsensical, but mainly truthful, narrative to disrupt the flow of spectacle will be presented.
Measurements: W:8’16” L:48’ H: 13’4”
Collection:
Date Made: 2013
Materials: flatbed trailer, 5 bicycles, 5 generators, 10 speakers, 5 mp3 players
Virtual Collection: Original CCCA
Human Sweat Generator
Artist: Warren Quigley
Work ID: 83741
Description: Imagine a time when the source of cheap energy is exhausted, an end of the great machine age. On the bed of a (tractor) trailer this float contains machines of the future, fundamental and modest in their construction and scope. These machines are dependent on human muscle to produce electricity. The human-generated electricity powered a multitude of devices, lighting systems, sound systems and projection systems. The content of the audio was comprised of 5 soundtracks of emergency warning alerts broadcast as prerecorded onomatopoeic vocalizations. Borrowing from the Theatre of the Absurd, a sensible/nonsensical, but mainly truthful, narrative to disrupt the flow of spectacle will be presented.
Measurements: W:8’16” L:48’ H: 13’4”
Collection:
Date Made: 2013
Materials: flatbed trailer, 5 bicycles, 5 generators, 10 speakers, 5 mp3 players
Virtual Collection: Original CCCA
Human Sweat Generator
Artist: Warren Quigley
Work ID: 83742
Description: Imagine a time when the source of cheap energy is exhausted, an end of the great machine age. On the bed of a (tractor) trailer this float contains machines of the future, fundamental and modest in their construction and scope. These machines are dependent on human muscle to produce electricity. The human-generated electricity powered a multitude of devices, lighting systems, sound systems and projection systems. The content of the audio was comprised of 5 soundtracks of emergency warning alerts broadcast as prerecorded onomatopoeic vocalizations. Borrowing from the Theatre of the Absurd, a sensible/nonsensical, but mainly truthful, narrative to disrupt the flow of spectacle will be presented.
Measurements: W:8’16” L:48’ H: 13’4”
Collection:
Date Made: 2013
Materials: flatbed trailer, 5 bicycles, 5 generators, 10 speakers, 5 mp3 players
Virtual Collection: Original CCCA
Wreck of the Theoretical Dyson Sphere KIC 8462852, Artist Conception
Artist: Warren Quigley
Work ID: 83745
Description: A Dyson sphere is a hypothetical mega-structure that completely encompasses a star. This is thought to be a solution to escalating energy needs, all things built will eventually fail including theoretical ones.
Measurements: diameter 50 cm
Collection:
Date Made: 2017
Materials: birch doweling, acrylic paint
Virtual Collection: Original CCCA, sparks
3-D Rasterized Artist Conception of Asteroid 2013 TV 13
Artist: Warren Quigley
Work ID: 83744
Description: A 3-D reconstruction of a 2D photographic image of Asteroid 2013 TV 13, recreating the rasterized quality of deep space photography.
Measurements: diameter 85 cm
Collection:
Date Made: 2017
Materials: carved and burnt cedar
Virtual Collection: Original CCCA
Warren Quigley
Artist: Warren Quigley
Work ID: 83677
Description: Site-specific public art installation. Harbourfront Artists’ Gardens, Toronto. Commissioned by Harbourfront Corporation.
Named after the automobile sales slogan used in a short-lived television ad in which a bucolic landscape of rolling hills becomes ominously covered by cars, this installation reverses the original intent of commercial monopoly. In the introduced landscape of the outdoor installation, the automobile is consumed by nature. Reclamation occurs due to its abandonment; the organic growths eventually obliterate the original form of the foreign object.
Measurements:
Collection:
Date Made:
Materials:
Virtual Collection: Original CCCA
