Painted bronze

Painted Bronze

PETE

ZXOSA

Glass and mixed media

Waste

Sculpture

PBOLA

The artist has referred to this work as part of a series of work known as the ‘Prometheus Series’, referring to this most elusive, heroic and abject of the Greek myths. Prometheus was the god who gave Humans the gift of fire that he stole from Mount Olympus to give to his Shelleyan Protégées.  For the well meaning and philanthropic opening of this particular Pandora’s box our hero was punished by the most gruesome of mortal punishments on an immortal daily basis. On first glance the work appears, like a gemstone, tantalizing the intellect like the visual illusions of Larry Bell or Dan Graham. But through the diachronic shimmer and reflections immerge a carefully placed tableaux: the detritus of our manic consumer age. These collections of the rusted, deteriorated evidence of our contemporary world have a totem like aura, trapped as they are behind glass. The icons of our secular age now worshiped like the religious relics of the Catholics, the shrines of the Greco-Romans or the talismans and totems of the indigenous ancients. Gavin Turk, June 2017

ANOMB

The artist has referred to this work as part of a series of work known as the ‘Prometheus Series’, referring to this most elusive, heroic and abject of the Greek myths. Prometheus was the god who gave Humans the gift of fire that he stole from Mount Olympus to give to his Shelleyan Protégées.  For the well meaning and philanthropic opening of this particular Pandora’s box our hero was punished by the most gruesome of mortal punishments on an immortal daily basis. On first glance the work appears, like a gemstone, tantalizing the intellect like the visual illusions of Larry Bell or Dan Graham. But through the diachronic shimmer and reflections immerge a carefully placed tableaux: the detritus of our manic consumer age. These collections of the rusted, deteriorated evidence of our contemporary world have a totem like aura, trapped as they are behind glass. The icons of our secular age now worshiped like the religious relics of the Catholics, the shrines of the Greco-Romans or the talismans and totems of the indigenous ancients. Gavin Turk, June 2017

The artist has referred to this work as part of a series of work known as the ‘Prometheus Series’, referring to this most elusive, heroic and abject of the Greek myths.

PSION

Rubbish

Red Beuys (Wrapped Waste)

Tr&auml;umen

Gicleé print on Hahnemühle Photo Rag

Träumen

The artist has referred to this work as part of a series of work known as the ‘Prometheus Series’, referring to this most elusive, heroic and abject of the Greek myths. Prometheus was the god who gave Humans the gift of fire that he stole from Mount Olympus to give to his Shelleyan Protégées.  For the well meaning and philanthropic opening of this particular Pandora’s box our hero was punished by the most gruesome of mortal punishments on an immortal daily basis. On first glance the work appears, like a gemstone, tantalising the intellect like the visual illusions of Larry Bell or Dan Graham. But through the diachronic shimmer and reflections emerge a carefully placed tableaux: the detritus of our manic consumer age. These collections of the rusted, deteriorated evidence of our contemporary world have a totem like aura, trapped as they are behind glass. The icons of our secular age now worshipped like the religious relics of the Catholics, the shrines of the Greco-Romans or the talismans and totems of the indigenous ancients. Gavin Turk, June 2017

TROCX

The artist has referred to this work as part of a series of work known as the ‘Prometheus Series’, referring to this most elusive, heroic and abject of the Greek myths. Prometheus was the god who gave Humans the gift of fire that he stole from Mount Olympus to give to his Shelleyan Protégées.  For the well meaning and philanthropic opening of this particular Pandora’s box our hero was punished by the most gruesome of mortal punishments on an immortal daily basis. On first glance the work appears, like a gemstone, tantalising the intellect like the visual illusions of Larry Bell or Dan Graham. But through the diachronic shimmer and reflections emerge a carefully placed tableaux: the detritus of our manic consumer age. These collections of the rusted, deteriorated evidence of our contemporary world have a totem like aura, trapped as they are behind glass. The icons of our secular age now worshipped like the religious relics of the Catholics, the shrines of the Greco-Romans or the talismans and totems of the indigenous ancients. Gavin Turk, June 2017

Installation info: Instructions in documents tab and also in Archive "Swinging slowly in the centre of the gallery this giant recycling plaything feels like a toy from the monkey enclosure at the zoo or from a children’s playground. Alternatively if you look from the corner of your eye you will see more geometric circles and moving abstract forms moving harmoniously through space. Then again perhaps you will be eerily reminded of the strange fruit of Alabama or even more pertinently the rubber necklaces of the African Cape." Gavin Turk, 2015

Tyre Mobile

Tyres, scaffold poles and wire

Installation info: Instructions in documents tab and also in Archive"Swinging slowly in the centre of the gallery this giant recycling plaything feels like a toy from the monkey enclosure at the zoo or from a children’s playground. Alternatively if you look from the corner of your eye you will see more geometric circles and moving abstract forms moving harmoniously through space. Then again perhaps you will be eerily reminded of the strange fruit of Alabama or even more pertinently the rubber necklaces of the African Cape." Gavin Turk, 2015

Installation info: Instructions in documents tab and also in Archive "Swinging slowly in the centre of the gallery this giant recycling plaything feels like a toy from the monkey enclosure at the zoo or from a children’s playground. Alternatively if you look from the corner of your eye you will see more geometric circles and moving abstract forms moving harmoniously through space. Then again perhaps you will be eerily reminded of the strange fruit of Alabama or even more pertinently the rubber necklaces of the African Cape." Gavin Turk, 2015

Installation info: Hang on wall out of direct sunlight and changes in temperature and moisture.

White Square after Malevich

Found canvas mounted on linen

Installation info: Hang on wall out of direct sunlight and changes in temperature and moisture.

Painting

"The lone cube sits under a light - the surface covered in an anemone of organic folds and wrinkles. A powerful and iconic motorised machine has been crushed like paper into a perfect Modernist cube. This cuboid was once a Cultural icon – a symbol of race and class. White-Van-Man’s steed has been reduced to a single abstract expressionist form. The powerful logistics tool of consumerism now forlornly and whimsically, resting under it’s spotlight." Gavin Turk, 2015

White Transit Van Compression

Crushed Transit van

"The lone cube sits under a light - the surface covered in an anemone of organic folds and wrinkles. A powerful and iconic motorised machine has been crushed like paper into a perfect Modernist cube.  This cuboid was once a Cultural icon – a symbol of race and class. White-Van-Man’s steed has been reduced to a single abstract expressionist form. The powerful logistics tool of consumerism now forlornly and whimsically, resting under it’s spotlight." Gavin Turk, 2015

"The lone cube sits under a light - the surface covered in an anemone of organic folds and wrinkles. A powerful and iconic motorised machine has been crushed like paper into a perfect Modernist cube. This cuboid was once a Cultural icon – a symbol of race and class. White-Van-Man’s steed has been reduced to a single abstract expressionist form. The powerful logistics tool of consumerism now forlornly and whimsically, resting under it’s spotlight." Gavin Turk, 2015

William Morris

Matt Sepia print

Masks

Self-Portrait

Faces

Photographic Work

Wittgenstein Roses

Life size sculpture of Ludwig Wittgenstein standing

[ξ, N(ξ)]’(η) (= [η, ξ, N(ξ)])

Waxwork sculpture

Life size sculpture of Ludwig Wittgenstein standing

Installation

Gavin Turk is famous for exhibiting a blue commemorative plaque at his degree show at the Royal College of Art which read ‘Royal Borough of Kensington, Gavin Turk, Sculptor, Worked Here 1989-1991’ and promptly being refused his degree. 
&nbsp; 
William Webb Ellis is famous for inventing Rugby football whilst a pupil at Rugby School. He is commemorated with a marble plaque at the school that reads ‘with a fine disregard for the rules of football, as played in his time, first took the ball in his arms and ran with it thus originating the distinctive feature of the rugby game A.D. 1823’.&nbsp;

Gavin Turk has extensively used ‘the egg’ in his works for him it serves as a kind of signature or logo. The egg is a symbol of death and rebirth, a psychoanalytic form, it triggers the riddle ‘which came first the chicken or the egg’, as well as a reference to legend and folklore the egg form occurs in the history of art and also egg tempera that was the original painters medium.

Whilst walking on Hampstead Heath Turk came across a deflated rugby ball, which had started becoming an egg shape and with the spirit of picking the new ball up and running with it he imagined the invention of a new sport…

The artwork, a monument to the new sport, is cast in bronze and patinated to look like the augmented version of the original leather ‘eggball’. &nbsp;Installed at Rugby School, on the School playing field where the game of rugby was invented. &nbsp;It measures approximately 1.83m in height, 1.53m in diameter, and weighs 700 kg.

Birth of the Egg Ball

6ft Bronze

Gavin Turk is famous for exhibiting a blue commemorative plaque at his degree show at the Royal College of Art which read ‘Royal Borough of Kensington, Gavin Turk, Sculptor, Worked Here 1989-1991’ and promptly being refused his degree. William Webb Ellis is famous for inventing Rugby football whilst a pupil at Rugby School. He is commemorated with a marble plaque at the school that reads ‘with a fine disregard for the rules of football, as played in his time, first took the ball in his arms and ran with it thus originating the distinctive feature of the rugby game A.D. 1823’. Gavin Turk has extensively used ‘the egg’ in his works for him it serves as a kind of signature or logo. The egg is a symbol of death and rebirth, a psychoanalytic form, it triggers the riddle ‘which came first the chicken or the egg’, as well as a reference to legend and folklore the egg form occurs in the history of art and also egg tempera that was the original painters medium.Whilst walking on Hampstead Heath Turk came across a deflated rugby ball, which had started becoming an egg shape and with the spirit of picking the new ball up and running with it he imagined the invention of a new sport…The artwork, a monument to the new sport, is cast in bronze and patinated to look like the augmented version of the original leather ‘eggball’. Installed at Rugby School, on the School playing field where the game of rugby was invented. It measures approximately 1.83m in height, 1.53m in diameter, and weighs 700 kg.

Eggs

Public Art

Football

Gavin Turk is famous for exhibiting a blue commemorative plaque at his degree show at the Royal College of Art which read ‘Royal Borough of Kensington, Gavin Turk, Sculptor, Worked Here 1989-1991’ and promptly being refused his degree.  

"This semi – transparent, Dichroic colour shifting cube is covered in a petrochemical film like a fine oil slick. Oil is simultaneously opaque with its dense luminous black as well as translucent and iridescent when molecular thin. This alluring attractiveness beguiles the eye away from the contents - An accumulation of materials gathered from ‘The Yard’. The wasteland through rainbow coloured spectacles. Through the Looking Glass lies the hypnotic surreal and strangely compelling world of our own paradox." DC 2015

Looking Glass

"This semi – transparent, Dichroic colour shifting cube is covered in a petrochemical film like a fine oil slick. Oil is simultaneously opaque with its dense luminous black as well as translucent and iridescent when molecular thin.This alluring attractiveness beguiles the eye away from the contents - An accumulation of materials gathered from ‘The Yard’. The wasteland through rainbow coloured spectacles. Through the Looking Glass lies the hypnotic surreal and strangely compelling world of our own paradox." DC 2015

"This semi – transparent, Dichroic colour shifting cube is covered in a petrochemical film like a fine oil slick. Oil is simultaneously opaque with its dense luminous black as well as translucent and iridescent when molecular thin. This alluring attractiveness beguiles the eye away from the contents - An accumulation of materials gathered from ‘The Yard’. The wasteland through rainbow coloured spectacles. Through the Looking Glass lies the hypnotic surreal and strangely compelling world of our own paradox." DC 2015

Salvador Dalí

Lith print

Installation info: Hang on wall out of direct sunlight and changes in temperature and moisture

Blackboard

Chalk on canvas

Chalk and blackboard paint on canvas

Installation info: Hang on wall out of direct sunlight and changes in temperature and moisture

Triple QX, ATF Plus

Cans

Mirage

Photograph printed onto dichroic glass

Sump Oil Painting

Oil and acrylic on canvas

Chimera

Mummy Reworked (Title TBC)

Canvas on canvas (TBC)

Installation info: Unpacking Instructions: Inside the crate are the following items: - Waxwork body - Chair - Table - Easel (in two parts) - Painting in a travel frame - Cardboard box containing the waxwork waxwork head, palette, paintbrush, egg and the apple core To unpack the work inside this crate first remove the two grey foam-lined timber braces which trap the table and the figure in place. Remove the screws from the outside of the crate to free them. Remove the table from the crate, being careful that the table legs don’t knock the figure on the way out. Then remove the egg painting in its travel frame. The headless figure can then be lifted out and away. It is not attached to the chair and will need another chair to sit on in the meantime. Then remove the chair from the crate. It has been repaired in the studio and still has the clamps attached. Please leave the clamps in place. Gavin will look at this when he arrives. Inside the cardboard box is the head, palette, paintbrush, egg and the apple core. The wax head is VERY fragile and must be handled extremely carefully. The finish is easily scratched. Please rest it on a soft surface covered with the white tyveck fabric it is wrapped in. The egg and apple-core are also very fragile. Handle these very lightly when unwrapping Life size sculpture of Ludwig Wittgenstein sitting

Telesthesia

Installation info: Unpacking Instructions:Inside the crate are the following items:- Waxwork body- Chair- Table- Easel (in two parts)- Painting in a travel frame- Cardboard box containing the waxwork waxwork head, palette, paintbrush, egg and the apple coreTo unpack the work inside this crate first remove the two grey foam-lined timber braces which trap the table and the figure in place. Remove the screws from the outside of the crate to free them.Remove the table from the crate, being careful that the table legs don’t knock the figure on the way out. Then remove the egg painting in its travel frame. The headless figure can then be lifted out and away. It is not attached to the chair and will need another chair to sit on in the meantime. Then remove the chair from the crate. It has been repaired in the studio and still has the clamps attached. Please leave the clamps in place. Gavin will look at this when he arrives. Inside the cardboard box is the head, palette, paintbrush, egg and the apple core. The wax head is VERY fragile and must be handled extremely carefully. The finish is easily scratched. Please rest it on a soft surface covered with the white tyveck fabric it is wrapped in. The egg and apple-core are also very fragile. Handle these very lightly when unwrappingLife size sculpture of Ludwig Wittgenstein sitting

Installation info: Unpacking Instructions: Inside the crate are the following items: - Waxwork body - Chair - Table - Easel (in two parts) - Painting in a travel frame - Cardboard box containing the waxwork waxwork head, palette, paintbrush, egg and the apple core To unpack the work inside this crate first remove the two grey foam-lined timber braces which trap the table and the figure in place. Remove the screws from the outside of the crate to free them. Remove the table from the crate, being careful that the table legs don’t knock the figure on the way out.

Installation info: Slide on to spigget on to plinth top. This will ensure the work cannot be pushed on to ground accidentally. Rock Sculpture

Dürer's Solid

Installation info: Slide on to spigget on to plinth top. This will ensure the work cannot be pushed on to ground accidentally.Rock Sculpture

Rock

Installation info: Slide on to spigget on to plinth top. This will ensure the work cannot be pushed on to ground accidentally. Rock Sculpture

PETE

ZXOSA

PBOLA

ANOMB

PSION

PBOLA

PETE

Red Beuys (Wrapped Waste)

Träumen

TROCX

Tyre Mobile

White Square after Malevich

White Transit Van Compression

William Morris

Wittgenstein Roses

[ξ, N(ξ)]’(η) (= [η, ξ, N(ξ)])

Birth of the Egg Ball

Träumen

Looking Glass

Salvador Dalí

Blackboard

Triple QX, ATF Plus

Mirage

Sump Oil Painting

Chimera

Mummy Reworked (Title TBC)

Telesthesia

Dürer's Solid

NMEME

That