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

Yard Box

Painted bronze

Packaging

Consume

Painted Bronze

Nonpareil

Paper Clip

Work on paper

Large Transit Disaster Carcass

Silkscreen ink and metallic paint on canvas

Silkscreen

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 (Brass Verdigris)

Cold patinated brass 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.

Alchemy

Painting

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.

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.

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.

Holy Egg (Cold Patinated Aluminium Small)

Patinated aluminium on birch ply stretcher

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

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

Blinker

Vache Painting

Waiting for Gavo Painting

Half and Half

Gicleé print on Hahnemühle Photo Rag

Photographic Work

Payne's Grey (Albers table)

Painted bronze, wood and glass

Burnt Sienna (Albers table)

Holy Egg (Brass)

Pile (Wrapped Waste)

Painted bronze, wood, glass and linen

Edgar Allan Poe Award Painting

Holy Egg (Cold Patinated Aluminium)

Aluminium on birch ply stretcher

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.