The film is a loosely choreographed condensed slice of time filmed beneath a 60s concrete flyover on the edge of Bristol. The film was constructed as both a live event and it’s documentation with the intention of using the filmic moment to fictionalise an unremarkable situation. The viewer is caught between two facing screens in an endlessly looping sequence of encounters between strangers.
Two static frames were filmed: a wide view in which the flyover punctuates a pastoral landscape scene, and another framing participants movement through the concrete structure supporting the flyover. The interstitial location holds the possibility of threat and romance, neither park or wasteland, it is a through route from city to countryside alongside a river and factories, between a police training ground and an art school, a space used by dog walkers and allotment holders. It was filmed during the ‘golden hour’, which also heightened the cinematic sense of the space.
Local people were asked to gather at the flyover on a specific autumn afternoon, and use the space as they ordinarily would, but repeating themselves when a whistle blew. The film is structured around two moments in which the same participants cross paths in front of the camera.
This film is one of a series made for a solo show at Spike Island in Bristol 2003 (along with Trevety and Entre Chien et Loup) and subsequently shown at Anna Schwartz Gallery, Melbourne.