A bronze cast of a cardboard box with a partially open top, painted to look real.

Yard Box

Painted bronze

Packaging

Consume

Painted Bronze

Large Transit Disaster Carcass

Silkscreen ink and metallic paint on canvas

Silkscreen

Nonpareil

Paper Clip

Work on paper

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 (Burgundy)

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

Painting

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.

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face 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 punctures on the surface 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 (Cold Patinated Aluminium Small)

Patinated aluminium on birch ply stretcher

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face 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 punctures on the surface 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.

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face 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.

Holy Egg (Permanent Orange)

Holy Egg (Small Antique Copper)

Copper on birch ply stretcher

Holy Egg (Small Brass Pink)

Brass on birch ply stretcher

Holy Egg (Small Copper Verdigris)

Patinated copper on birch ply stretcher

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face 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 punctures on the surface 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 (Steel)

Corten steel on birch ply stretcher

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face 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 punctures on the surface 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.

Eggs

Holy Egg (Brass Verdigris)

Cold patinated brass on birch ply stretcher

Blinker

A Jackson Pollock style painting made from attempts of the Artists signature, repeated in various sizes and colours onto canvas.

Blue Note

Acrylic on canvas with string 

Pollock

Wrapped object from waste products used to make the show ‘Negotiation of Purpose’

Bronze Roller (Wrapped Waste)

Wrapped object from waste products used to make the show ‘Negotiation of Purpose’

Wrapped

Vache Painting

Waiting for Gavo Painting

Portrait of the Sailor Gentleman Jim Painting

Exhaust Etching (Blast)

Solar plate etching

Etching

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 (Dark Blue)

Diamond dust and acrylic paint on canvas

Raw Sienna (Albers table)

Painted bronze, wood and glass

Exhaust Etching (Explosion)

Exhaust

Holy Egg (Lead)

Lead on birch ply stretcher

Reclining Paint Tube (Albers table)

Exhaust Etching (Ghost)

Holy Egg (Rose)

Rosy Lee Painting

Exhaust Etching (Particle)

Hydra Painting

Installation info: See documents tab for full instructions on setting up projector with film (July 2016)also NB:  Film should ideally be hand loaded when put on projector as auto loading can damage filmDuring the late sixties Andy Warhol made a series of 16mm black and white films that became known as Screen Tests. These short ‘locked of' films show in shadow and high contrast various actors (notable guests or friends to his studio) staring back at the camera like moving photographs. The audience of these films is implicit within the camera’s voyeuristic gaze and the sense of life’s momentary status. This re-enactment, Screen Test (2016), positions the audience in a place once removed from the curious authenticity of the ‘original’ films. The artist-actor impostor uses appropriated shadows and aesthetics to force a questioning of intention. This degenerate film aims to check the reality and truth that has to be attributed to art for the audience to ‘believe in it’.

Screen Test

16mm, B/W, Silent, 4 Minutes at 16 FPS projected with AEKI

Installation info: See documents tab for full instructions on setting up projector with film (July 2016)also NB: Film should ideally be hand loaded when put on projector as auto loading can damage filmDuring the late sixties Andy Warhol made a series of 16mm black and white films that became known as Screen Tests. These short ‘locked of' films show in shadow and high contrast various actors (notable guests or friends to his studio) staring back at the camera like moving photographs. The audience of these films is implicit within the camera’s voyeuristic gaze and the sense of life’s momentary status. This re-enactment, Screen Test (2016), positions the audience in a place once removed from the curious authenticity of the ‘original’ films. The artist-actor impostor uses appropriated shadows and aesthetics to force a questioning of intention. This degenerate film aims to check the reality and truth that has to be attributed to art for the audience to ‘believe in it’.

Film

Installation info: See documents tab for full instructions on setting up projector with film (July 2016) also NB: Film should ideally be hand loaded when put on projector as auto loading can damage film During the late sixties Andy Warhol made a series of 16mm black and white films that became known as Screen Tests. These short ‘locked of' films show in shadow and high contrast various actors (notable guests or friends to his studio) staring back at the camera like moving photographs.