Installation info: Each cube consists of 6 panels (no bottom) and 8 brackets. &nbsp;NB: &nbsp;Brackets are in bottom of crate One embedded in the foam. &nbsp;

All edges of the cubes are very vulnerable so great care should be taken when handling and assembly should be done where the work is to be place as once put together it will not be possible to move.

The 4 mirror sides have an extended section of chipboard on the bottom edge so gather these together first and arrange so they are placed in a running butt sequence (see snap attached of a birds-eye drawing to illustrate this). &nbsp; &nbsp;Then use 8 brackets. &nbsp;4 on inside of bottom and 4 on inside of top - If you need help in placing these the holes should be visible from previous installations to guide you. &nbsp;It is crucial to ensure all right angles are square and flush whilst doing this.

Once the four sides are all screwed together, the top panel needs placing. &nbsp;This consists of two parts. &nbsp;Place the chip board panel with finger hole first, this rests on other chipboard of the side panels, and then finally place glass top panel flush. &nbsp;(This can be done without use of suckers.) &nbsp;

*16 mm size 4 screws if none included

(September 2016)

Four aged and tarnished mirror-plated cubes

Robert Morris Untitled 1965-72

Distressed mirror plate glass and wood in four parts

Four aged and tarnished mirror-plated cubes

Authorship

Mirrors

Infinity

Installation

Installation info: Each cube consists of 6 panels (no bottom) and 8 brackets.  NB:  Brackets are in bottom of crate One embedded in the foam.   All edges of the cubes are very vulnerable so great care should be taken when handling and assembly should be done where the work is to be place as once put together it will not be possible to move.

A three panel painting of the artists signature entirely made from recycled materials with information about the materials used hand-sewn in the bottom right corner. Produced while studying at the Royal College, this was Turk’s first signature-based work. Being a student at the time, his signature was worth little in the art world and, as the artist’s signature was brazenly the painting’s only subject, Turk expected some viewers to take exception to such a provocative art work. To counter these reactions, Turk made the work from recycled materials and employed a medieval string-and-peg process to stretch the canvas, avoiding staples and environmentally damaging adhesives. He even planted a tree to replace the recycled timber. The construction process was explained as a small label onto the canvas: nobody could criticise the work for being a waste of resources. In essence, the piece took nothing from the world and gave nothing back, except the artist labour.

Title

Lead free pigment on canvas

A three panel painting of the artists signature entirely made from recycled materials with information about the materials used hand-sewn in the bottom right corner.Produced while studying at the Royal College, this was Turk’s first signature-based work. Being a student at the time, his signature was worth little in the art world and, as the artist’s signature was brazenly the painting’s only subject, Turk expected some viewers to take exception to such a provocative art work. To counter these reactions, Turk made the work from recycled materials and employed a medieval string-and-peg process to stretch the canvas, avoiding staples and environmentally damaging adhesives. He even planted a tree to replace the recycled timber. The construction process was explained as a small label onto the canvas: nobody could criticise the work for being a waste of resources. In essence, the piece took nothing from the world and gave nothing back, except the artist labour.

Identity

Recycling

Signatures

Artist

Painting

A three panel painting of the artists signature entirely made from recycled materials with information about the materials used hand-sewn in the bottom right corner. Produced while studying at the Royal College, this was Turk’s first signature-based work. Being a student at the time, his signature was worth little in the art world and, as the artist’s signature was brazenly the painting’s only subject, Turk expected some viewers to take exception to such a provocative art work.

A school style stool with the slot in the middle of the seat glazed with glass.

Robert Morris Untitled 1965-72

Title

Stool