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.

Tr&auml;umen

Gicleé print on Hahnemühle Photo Rag

Träumen

PSION

Rubbish

Red Beuys (Wrapped Waste)

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

Painted bronze, wood, glass and linen

Auguste Rodin

Bromide (Ilford neutral) print

Time and Space (for Joseph Kosuth) The globe is wrapped in 24 hours. At any given moment on earth it is a different time of day depending on where we are on the earth to measure it. In 1965 Joseph Kosuth made the conceptual proposal for Clock (One and five), English/Latin Version a work that consists of a photograph of a clock, a clock, and English/Latin dictionary definitions of the words: time, machine and object. The piece forces the audience to witness a linguistic and objective form of presenting and re-presenting reality. In Gavin Turk’s work ‘Time and Space (for Joseph Kosuth)’ 12 ticking clocks, all identical to the clock in the Kosuth piece, hang from the ceiling, slowly revolving on a mobile. ‘Time and Space (for Joseph Kosuth)’ iterates the ‘art-clock’ and reiterates the time and space necessary to be an art-viewer. The audience circulates the x, y and z rotations of clock hands, the clocks themselves and those clocks in relationship to each other. A glimpse of some of the backs create blanks that question the linear, syntactical direction of time (clockwise versus back and front). This moving surrealist work is a playful musing on the fleeting nature of existence. AS_2020

Time and Space (for Joseph Kosuth)

Clocks, steel poles and wire

Time and Space (for Joseph Kosuth)The globe is wrapped in 24 hours. At any given moment on earth it is a different time of day depending on where we are on the earth to measure it.In 1965 Joseph Kosuth made the conceptual proposal for Clock (One and five), English/Latin Version a work that consists of a photograph of a clock, a clock, and English/Latin dictionary definitions of the words: time, machine and object.The piece forces the audience to witness a linguistic and objective form of presenting and re-presenting reality.In Gavin Turk’s work ‘Time and Space (for Joseph Kosuth)’ 12 ticking clocks, all identical to the clock in the Kosuth piece, hang from the ceiling, slowly revolving on a mobile.‘Time and Space (for Joseph Kosuth)’ iterates the ‘art-clock’ and reiterates the time and space necessary to be an art-viewer. The audience circulates the x, y and z rotations of clock hands, the clocks themselves and those clocks in relationship to each other. A glimpse of some of the backs create blanks that question the linear, syntactical direction of time (clockwise versus back and front).This moving surrealist work is a playful musing on the fleeting nature of existence. AS_2020

Time and Space (for Joseph Kosuth) The globe is wrapped in 24 hours. At any given moment on earth it is a different time of day depending on where we are on the earth to measure it. In 1965 Joseph Kosuth made the conceptual proposal for Clock (One and five), English/Latin Version a work that consists of a photograph of a clock, a clock, and English/Latin dictionary definitions of the words: time, machine and object. The piece forces the audience to witness a linguistic and objective form of presenting and re-presenting reality.

Installation info: Handle carefully with gloves, ensuring when placed it is done so gently as painted edges are fragile. Ensure signed underside is face down.  Avoid direct sunlight, temperature fluctuations and moisture.  A tiny security pin can fix the underside of the piece to a surface if required for installation.A bronze cast of an apple core, thin at one end and fat at the other, with a long stalk and pips showing, painted to look real. Eaten and then thrown away, Turk takes the discarded, shrivelled and dead and gives it new life in the form of miniature painted bronze sculptures. Heavy with the symbolism of an English Eden, these once ripe fruits, alongside their associations with knowledge and temptation, Adam’s apple and of course, Eve, have been discarded and tossed away. Now “rotten to the core”, the fruits of the utopian English garden have become a poisonous symbol of man’s fall. Or perhaps they are nothing more ominous than evidence of a healthy diet in which their daily consumption contains the promise to keep the doctor away.

La Clairvoyance

Installation info: Handle carefully with gloves, ensuring when placed it is done so gently as painted edges are fragile. Ensure signed underside is face down. Avoid direct sunlight, temperature fluctuations and moisture. A tiny security pin can fix the underside of the piece to a surface if required for installation.A bronze cast of an apple core, thin at one end and fat at the other, with a long stalk and pips showing, painted to look real. Eaten and then thrown away, Turk takes the discarded, shrivelled and dead and gives it new life in the form of miniature painted bronze sculptures. Heavy with the symbolism of an English Eden, these once ripe fruits, alongside their associations with knowledge and temptation, Adam’s apple and of course, Eve, have been discarded and tossed away. Now “rotten to the core”, the fruits of the utopian English garden have become a poisonous symbol of man’s fall. Or perhaps they are nothing more ominous than evidence of a healthy diet in which their daily consumption contains the promise to keep the doctor away.

Installation info: Handle carefully with gloves, ensuring when placed it is done so gently as painted edges are fragile. Ensure signed underside is face down. Avoid direct sunlight, temperature fluctuations and moisture. A tiny security pin can fix the underside of the piece to a surface if required for installation. A bronze cast of an apple core, thin at one end and fat at the other, with a long stalk and pips showing, painted to look real. Eaten and then thrown away, Turk takes the discarded, shrivelled and dead and gives it new life in the form of miniature painted bronze sculptures.

Installation info: Place directly on floor "This palindromatic and reflexive artwork consists of 4 bales of used paper laid out like Robert Morris’s mirror cubes. Four pillars or monuments laid in an architectural absence. Four rooms or four corridors filled with the magical stuff of art. A Poetic cut up of our potential literary brilliance collaged into a sculptural three dimensional Robert Ryman. Modernism’s great project processed into bales. If Dada is opposite of Modernism, where there is sense there is also nonsense." Gavin Turk, 2015

Repap Paper Repap Paper

Acrylic ink on printed paper

3 inch nail & paper

Installation info: Place directly on floor"This palindromatic and reflexive artwork consists of 4 bales of used paper laid out like Robert Morris’s mirror cubes. Four pillars or monuments laid in an architectural absence. Four rooms or four corridors filled with the magical stuff of art. A Poetic cut up of our potential literary brilliance collaged into a sculptural three dimensional Robert Ryman. Modernism’s great project processed into bales. If Dada is opposite of Modernism, where there is sense there is also nonsense." Gavin Turk, 2015

Installation info: Place directly on floor "This palindromatic and reflexive artwork consists of 4 bales of used paper laid out like Robert Morris’s mirror cubes. Four pillars or monuments laid in an architectural absence. Four rooms or four corridors filled with the magical stuff of art. A Poetic cut up of our potential literary brilliance collaged into a sculptural three dimensional Robert Ryman. Modernism’s great project processed into bales. If Dada is opposite of Modernism, where there is sense there is also nonsense." Gavin Turk, 2015

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

PETE

ZXOSA

PBOLA

ANOMB

Träumen

PSION

PBOLA

PETE

Red Beuys (Wrapped Waste)

TROCX

Tyre Mobile

White Square after Malevich

White Transit Van Compression

William Morris

Wittgenstein Roses

[ξ, N(ξ)]’(η) (= [η, ξ, N(ξ)])

Red Beuys (Wrapped Waste)

Auguste Rodin

Time and Space (for Joseph Kosuth)

La Clairvoyance

Repap Paper Repap Paper

Birth of the Egg Ball

Träumen

Looking Glass

Salvador Dalí

Blackboard

Triple QX, ATF Plus

Mirage

Sump Oil Painting

Chimera