Britt Wilder Moseley





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TIXE (all directions)
2018
The Mundane

The Mundane is a set of micro-research experiments in perception, time, and relational systems.

As a way to enrich the everyday with joy and humor, I create objects and interventions that distort seemingly mundane features of the built world. This home-made backwards exit sign, whose function is negated by the amount of options, serves as a guidepost to nowhere. Too many options. The vertical post was created in collaboration with my grandfather and photographed in the Rocky Mountain wilderness near Alma, CO. The inspiration for these works derives from the environment and infrastructure at my job-sites, going day-in and day-out. These ordinary icons: credit cards, exit signs, hand-written notes, traffic cones, calendars, and inspirational posters, are distorted through a hand-made process (like ceramics). The labor embeds these mundane objects with an existential abundance of time and labor.

Traffic Cone

10 x 10 x 28 in.

Traffic Cone, Plaster, Cement, Paint

2011
Traffic Cone was an early sculptural experiment in material mimicry and infrastructural camouflage. In 2011, I coated an ordinary traffic cone in cement and plaster, then repainted it to appear identical to the original. I then returned the object to its original context, among its mass-produced counterparts along the Brooklyn-Queens Expressway.

This intervention marked an early inquiry into the systems and aesthetics of infrastructure—how objects of control and regulation might be reabsorbed into their own networks. By transforming a flexible, plastic marker into a rigid, hand-made replica, the work short-circuits the relationship between labor and function, simulation and authenticity, mass production and craft.

Within the broader arc of my practice, Traffic Cone foreshadows later investigations into the performativity of infrastructure and the poetics of replication—how attention, imitation, and material reconfiguration can reveal the invisible systems organizing daily life. The sculpture exists somewhere between object and prank: a handmade feedback loop folded back into the machinery of the city.
Radiant Sun Card
15 x 9 x .5 in.
Glazed Ceramic
2016
Parking Lot Card
13 x 9 x .5 in.
Glazed Ceramic
2017
Gatekeeping Card
14 x 10 x .5 in.
Glazed Ceramic
2017
Cracked Card
14 x 10 x .75 in.
Glazed Ceramic with Egyptian Paste Inlay
2017
Cracked Chip
6 x 6 x .75 in.
Porcelain And Slip Inlay
2017
Tie Dye Card,
14 x 10 in.
Glazed Ceramic
2017
Birthday Cake Card
18 x 12 x 1 in.
Stoneware and Slip
2017
 Credit Cards

Fired Ceramic

2016-2017
My oversized, hand-built ceramic credit cards are imagined relics from an ancient capitalist civilization—a speculative archaeology of debt, desire, and durability. Each piece is crafted from stoneware, porcelain, and Egyptian paste, a self-glazing ceramic material developed in antiquity and used for amulets and ritual objects. By fusing this ancient material technology with the iconography of modern finance, the work repositions the credit card as an artifact and fossil. These sculptures imagine a future in which archaeologists misinterpret our transactional artifacts as devotional or mythic. It becomes a mystical token of belief in systems of value that once animated human behavior long ago.

Within my broader practice, these works extend an inquiry into how material systems hold memory and meaning. The ceramic process of firing and glazing echoes the logic of technological infrastructures: transformation through pressure and heat, stability through process. The result is an object that will outlive its economy, persisting as a kind of geological residue of late capitalism.

Ann?
14 x 11 in.
Signed Photo Print in Found Frame
2019
Please Move
19 x 21 in.
Signed Photo Print in Found Frame
2019
Like Paint
16 x 12 in.
Signed Photo Print in Found Frame
2019
Not Sure
16 x 12 in.
Signed Photo Print in Found Frame
2019
Yeah
12 x 16 in.
Signed Photo Print in Found Frame
2019
Up and Down
14 x 11 in.
Photo Print in Found Frame
2019
Inspirational Posters

Digital Inkjet Print in Found Frames

2018-2019
The Inspirational Poster Series reimagines the language of self-help and corporate motivation through humor and self-reflexivity. Observing that historic artists often leave behind quotable wisdom, I set out to generate my own, framed as inspirational posters signed “Britt Moseley.” Each poster, placed in a found frame to appear domestic and sincere, was donated to a thrift store, allowing the myth of artistic importance to circulate anonymously. The work parodies systems of value, attention, and authorship, transforming the banal aesthetics of inspiration into a playful study of how myth can humorously propagate through everyday infrastructures.

TIXE DER
11 x 8 x 2 in.
Porcelain, Glaze, Underglaze
2018
TIXE NEERG
 11 x 8 x 2 in.
Porcelain, Glaze, Underglaze
2018
TIXE
11 x 8 x 2 in.
Stoneware, Glaze, Underglaze
2017
TIXE KCOR
11 x 8 x 2 in.
Porcelain,  Earthenware, Stoneware
2018
TIXE (all directions)
Stoneware and Found Wood
20 x 20 x 36 in.
2018
Exit Signs

In this series, I recreated standard exit signs in ceramic, inadvertently reversing the lettering in the process. Even backward, the object remains instantly legible, its form carrying meaning beyond text. Cast in porcelain and marbleized stoneware, these signs remix a mundane emergency fixture into a fragile, contemplative artifact. The work reflects my ongoing interest in how systems of communication and control can fracture under material transformation. Like much of my work, the Exit Signs merges infrastructural elements and handmade error to reveal the poetics within systems of order. 


Task Calendar
36 x 24 in.
Digital Inkjet Print
2022
A Memory
22 x 28 in.
Digital Inkjet
2022
 Calendars

In this series, I engaged with the everyday systems of feedback, labor, and time. At my former manufacturing job-site, there was a paper U-Line calendar on the wall. The idyllic vistas represented on these calendars formed a disconnect with my loud, repetitive, reality. To emulate the “groundhog-day” sensation of work, I created photographic feedback loops on this calendar, building a process that aligned with my fractured memories of day-to-day work. The image process blurs fact and fabrication, merging mundane workplace objects with digital interventions in a trompe l'oeil manner. The piece reflects my ongoing inquiry into how perception, memory, and systems of attention interact, transforming ordinary icons into a site where reality is both constructed and disrupted.



Notes

11 x 8.5 in.

Block Print in Gold Ink on Watercolor Paper

2022

In my public facing work, this is a subtle surreal distortion in my environment by replacing and working on a forgettable object. Like Traffic Cone and other early gestures, the piece operates as a soft prank and perceptual experiment, examining how attention moves through environments of labor and regulation. 

At my industrial work-site I would see an angry sign telling people not to leave garbage in the hallway of the industrial building. Using a cnc router, I made a woodblock print of the sign, and replaced the original handwritten note with an artisanal gold block printed version of the note. Pictured here is the print installed with similar looking packing tape where the original sign used to be. 

By replacing a forgettable object with its crafted double, Notes creates a subtle glitch in the fabric of the everyday. It becomes an almost invisible intervention that questions value, authorship, and the aesthetics of work.

Car Ride
42 x 14 in.
Digital Inkjet Print
2023

Warehouse Vistas
42 x 14 in.
Digital Inkjet Print
2023

This Is My Happy Place
42 x 14 in.
Digital Inkjet Print
2023
Popping Gardens
42 x 18 in.
Digital Inkjet Print
2023

Souvenir Panoramas

Digital Inkjet Prints

2023
Souvenir Panoramas was a series of digital inkjet prints in the form of a panorama normally found in a gift shop. The image is a long wraparound view depicting a landscape comically mixed with elements of the built world, or abstracted in the form of a cubist collage. The format and the series relates to my larger interest in systems of perception, and how places are documented and formed through relics.  



How To Fix Blue Screen Windows 10 2024
Single-channel video
HD

3 min 34 sec

2024
How To Fix Blue Screen Windows 10 2024  is a satire of Youtube tutorials that humorously presents AI technical assistance as one of my “Cosmic Maintenance Workers” who discovers agency in the system and destroys the computer from the inside out. The titling is meant to insert the video into systems of online distribution, with hopes that this tutorial provides joy for the audience experiencing computer errors. The video transforms digital breakdowns into performative systems, aligning with my ongoing exploration of matter, infrastructure, and improvisational collaboration in both physical and virtual environments.
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