2016    115 x 111 cms.

As the number of dysfunctional cars at Whitegate mounted the area behind the living quarters took on the ambience of an auto cemetery. One or two were intermittently operational though unregistered. One afternoon when the occupants had vacated camp, a rival faction seized the opportunity for revenge and smashed every window of each car. Documenting this was my original starting point though none of those depicted in 'Ascension' featured among the images we took in our report to police. 

Compositionally, I used the lever of Mark Tansey's 1986 piece 'Pleasure of The Text'. Pictured is Edward Neill astonished at the auto levitating above a field of abandoned wrecks; modern man's mobility dream that alternately liberates and enslaves him and with which he is so identified. (At least his driver's license which validated his identity.)