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.

Red Beuys (Wrapped Waste)

Tr&auml;umen

Gicleé print on Hahnemühle Photo Rag

Träumen

PSION

Rubbish

Wittgenstein Roses

Photographic Work

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

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

A Vision in Blue

Neon with black painted front mounted on white wall

The Rock of Egg

Oil and acrylic on canvas

Eggs

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich painterly surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the canvas whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown. The fleshy quality of the paint surrounding the punctures on the canvas allude to Jesus Christ's stigmata. Titled "Holy Egg", this series of works plays with notions of the authenticity of art as well as the aura of the artwork, alluding to the religious symbolism associated with the egg as well as to a long-standing historical relationship between art and religion, iconography and iconoclasm.

Holy Egg (Blue)

Diamond dust and acrylic paint on canvas

Acrylic paint and diamond dust on canvas

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich painterly surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the canvas whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown. The fleshy quality of the paint surrounding the punctures on the canvas allude to Jesus Christ's stigmata. Titled "Holy Egg", this series of works plays with notions of the authenticity of art as well as the aura of the artwork, alluding to the religious symbolism associated with the egg as well as to a long-standing historical relationship between art and religion, iconography and iconoclasm.

Alchemy

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich painterly surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the canvas whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown.

PSION (Gold and Blue)

A Vision in Red

Installation info: Can be installed in different configurations under guidance by artist'The broken mirror maze degraded and shattered so it exists as a series of small corners or small barriers. Once proudly installed as a clinical, controlled and controlling architecture, the panels are now coated with distressed paper and the ingress of moisture behind the film. The milky failure of perfect material corrupted with the organic deposits of mildew and spores. The title as a thinly veiled spoken word play on Duchamp’s ‘the Large Glass’ refers to the eponymous Yard. That place of abandoned things contains the accumulation of human aspiration and cultural failure.  Smashed but preserved in a broken form, capitalising on the natural process of nature reclaiming even the most impenetrable of materials. The constituent parts create a mathematical labyrinth drifting apart like icebergs in the space. An ancient symbol now a dotted-line imbroglio. Reflecting back our shattered selves.'Text by Gavin Turk, 2015

The Yard Glass

Aluminium Frame, laminated glass, mirror film and paper residue

'The broken mirror maze degraded and shattered so it exists as a series of small corners or small barriers. Once proudly installed as a clinical, controlled and controlling architecture, the panels are now coated with distressed paper and the ingress of moisture behind the film. The milky failure of perfect material corrupted with the organic deposits of mildew and spores. The title as a thinly veiled spoken word play on Duchamp’s ‘the Large Glass’ refers to the eponymous Yard. That place of abandoned things contains the accumulation of human aspiration and cultural failure. Smashed but preserved in a broken form, capitalising on the natural process of nature reclaiming even the most impenetrable of materials. The constituent parts create a mathematical labyrinth drifting apart like icebergs in the space. An ancient symbol now a dotted-line imbroglio. Reflecting back our shattered selves.'Text by Gavin Turk, 2015

Labyrinths

Recycling

Duchamp

Installation info: Can be installed in different configurations under guidance by artist 'The broken mirror maze degraded and shattered so it exists as a series of small corners or small barriers. Once proudly installed as a clinical, controlled and controlling architecture, the panels are now coated with distressed paper and the ingress of moisture behind the film. The milky failure of perfect material corrupted with the organic deposits of mildew and spores. The title as a thinly veiled spoken word play on Duchamp’s ‘the Large Glass’ refers to the eponymous Yard.

Pink neon mounted on white wall

Signs

RAULT

A Vision in White

White neon with black painted front mounted on white wall

Thinks

Silver vinyl wall drawing

Injuries also occur in the language

Identity

Trompe L'oeil

Football

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.