Disembodied from any room, structure or building, this ‘larger than life’ painted bronze door, is freestanding, open at 45°’s to the frame. This internal wooden door now placed in the park has different colours painted on each side, the door shows signs of age and wear which are painted onto its surface. Its giant bronze door handle and keyhole seem to shrink the viewer. ‘I continued to look at the flowers, and in their living light I seemed to detect the qualitative equivalent of breathing -but of a breathing without returns to a starting point, with no recurrent ebbs but only a repeated flow from beauty to heightened beauty, from deeper to ever deeper meaning.’ - Aldous Huxley, The Doors of Perception This work invokes Magritte’s painting ‘La Victoire’ and the title references Luis Bunuel’s surreal film of the same name. It is a playful surrealist public artwork that the audience enjoys interacting with as a gateway to their imagination. L’Âge d’Or teases the audience to question notions of home, security, architecture and also the bolder concepts of inside and outside. The work can also be seen in the context of Marcel Duchamp’s door in rue Larrey and Jasper Johns’ painted bronze Ballentine beer cans. Question: When is a door not a door? Answer: When it’s ajar

L'Âge d'Or (Green & Red)

Painted bronze

Disembodied from any room, structure or building, this ‘larger than life’ painted bronze door, is freestanding, open at 45°’s to the frame. This internal wooden door now placed in the park has different colours painted on each side, the door shows signs of age and wear which are painted onto its surface. Its giant bronze door handle and keyhole seem to shrink the viewer. ‘I continued to look at the flowers, and in their living light I seemed to detect the qualitative equivalent of breathing -but of a breathing without returns to a starting point, with no recurrent ebbs but only a repeated flow from beauty to heightened beauty, from deeper to ever deeper meaning.’ - Aldous Huxley, The Doors of Perception This work invokes Magritte’s painting ‘La Victoire’ and the title references Luis Bunuel’s surreal film of the same name. It is a playful surrealist public artwork that the audience enjoys interacting with as a gateway to their imagination. L’Âge d’Or teases the audience to question notions of home, security, architecture and also the bolder concepts of inside and outside. The work can also be seen in the context of Marcel Duchamp’s door in rue Larrey and Jasper Johns’ painted bronze Ballentine beer cans. Question: When is a door not a door? Answer: When it’s ajar

Doors

Fate

Duchamp

Infinity

Public Sculpture

Disembodied from any room, structure or building, this ‘larger than life’ painted bronze door, is freestanding, open at 45°’s to the frame. This internal wooden door now placed in the park has different colours painted on each side, the door shows signs of age and wear which are painted onto its surface. Its giant bronze door handle and keyhole seem to shrink the viewer.

Photograph of all the works in the South London Gallery exhibition 'The Stuff Show' covered up in the style of Christo for the opening night. Guests at the opening of Turk’s solo exhibition at the South London Gallery in 1998 found that the artist had covered all of the works with linen dustsheets for the evening. Turk had effectively made a one-night exhibition inviting the audience to take a look at their own expectations, and responses ranged from wry enjoyment to outright indignation. ‘Droste Effect’ is a panoramic image of the covered exhibition, and was itself included among the covered works – an apparent impossibility; how could the photograph be on the white wall while it has been taken? The work’s title comes from a Dutch cocoa powder, Droste, which features on its tin a picture of a nun carrying a tray with a tin of Droste, which in turn has the same picture of the nun….and on into infinity.

Droste Effect

C-type colour print collage

Photograph of all the works in the South London Gallery exhibition 'The Stuff Show' covered up in the style of Christo for the opening night. Guests at the opening of Turk’s solo exhibition at the South London Gallery in 1998 found that the artist had covered all of the works with linen dustsheets for the evening. Turk had effectively made a one-night exhibition inviting the audience to take a look at their own expectations, and responses ranged from wry enjoyment to outright indignation. ‘Droste Effect’ is a panoramic image of the covered exhibition, and was itself included among the covered works – an apparent impossibility; how could the photograph be on the white wall while it has been taken? The work’s title comes from a Dutch cocoa powder, Droste, which features on its tin a picture of a nun carrying a tray with a tin of Droste, which in turn has the same picture of the nun….and on into infinity.

Recycling

Photographic Work

Photograph of all the works in the South London Gallery exhibition 'The Stuff Show' covered up in the style of Christo for the opening night. Guests at the opening of Turk’s solo exhibition at the South London Gallery in 1998 found that the artist had covered all of the works with linen dustsheets for the evening. Turk had effectively made a one-night exhibition inviting the audience to take a look at their own expectations, and responses ranged from wry enjoyment to outright indignation.

Installation info: Each cube consists of 6 panels (no bottom) and 8 brackets. &nbsp;NB: &nbsp;Brackets are in bottom of crate One embedded in the foam. &nbsp;

All edges of the cubes are very vulnerable so great care should be taken when handling and assembly should be done where the work is to be place as once put together it will not be possible to move.

The 4 mirror sides have an extended section of chipboard on the bottom edge so gather these together first and arrange so they are placed in a running butt sequence (see snap attached of a birds-eye drawing to illustrate this). &nbsp; &nbsp;Then use 8 brackets. &nbsp;4 on inside of bottom and 4 on inside of top - If you need help in placing these the holes should be visible from previous installations to guide you. &nbsp;It is crucial to ensure all right angles are square and flush whilst doing this.

Once the four sides are all screwed together, the top panel needs placing. &nbsp;This consists of two parts. &nbsp;Place the chip board panel with finger hole first, this rests on other chipboard of the side panels, and then finally place glass top panel flush. &nbsp;(This can be done without use of suckers.) &nbsp;

*16 mm size 4 screws if none included

(September 2016)

Four aged and tarnished mirror-plated cubes

Robert Morris Untitled 1965-72

Distressed mirror plate glass and wood in four parts

Four aged and tarnished mirror-plated cubes

Authorship

Mirrors

Installation

Installation info: Each cube consists of 6 panels (no bottom) and 8 brackets.  NB:  Brackets are in bottom of crate One embedded in the foam.   All edges of the cubes are very vulnerable so great care should be taken when handling and assembly should be done where the work is to be place as once put together it will not be possible to move.

Installation info: MIRROR INSTALLATION & DEINSTALLATION INSTRUCTIONSPlacing the floor:Take the panels out of the crates and differentiate the position that each one should take in relation to the whole sculpture.  The panels have their positions written on them on the inside center in pencil.  Position the floor base and decide on its orientation. The base needs to be level so if the floor is on a slight slope or on uneven ground use small shims or wedges to keep it as flat and level as possible.Bolt on the twelve floor plates in their corresponding positions, check that the letters correspond with one another and arrange so the letters are always facing up. Make sure sufficient pressure is applied when bolting the panels down so they are firm and secure.Take the floor panel and slide it over the grid of floor plates so it rests on the floor base. Push down evenly to make sure it’s firmly in place. Test the floor panel is securely slotted into place by walking on the base and checking its firm under foot and there is no movement.Joining the panels:Select a perspex strip and place it into the rebate of one of the short sides of the floor panel. Lift the corresponding side panel onto the perspex strip so that the two panels sit at right angles. Make sure the perspex is evenly spaced within the rebate and that the panels are evenly slotted together with an equal gap visible between them. Make sure that someone continues to hold the side panel securely in place. Put the next Perspex strip into the rebate of the floor panel, this will join onto the back panel. Lift the back panel on the perspex as was done with the previous panel when the two panels are both securely held in position and evenly spaced. Slightly tip the two panels back by a few degrees so there is enough room to slot the vertical perspex strip between the two to form the corner. Fit this into place whilst simultaneously lifting the panels back into their vertical position. You should now have the first corner fixed in place. Note that where the three strips of perspex meet there should be an equal triangular space. If the horizontal strips seem to slip down then make small paper shims/wedges to place in the rebate to keep the horizontal Perspex strip in position and the triangular gap even in size.Continue the same technique until all four walls are in place.Placing the roof:Strap or hold the four sides of the sculpture together. Pass the roof section up and onto the top of the walls so that it sits long-ways over-hanging the edges. Make sure there are plenty of people to help (ideally four or more), as this needs to be done very gently so as not to scratch any of the panels.Go inside the sculpture and with a minimum of four persons lift the roof section up and turn it into its desired position so that it’s floating above the walls.  Place the Perspex strips into the rebates on top of the walls. Designate one edge of the roof and lower this to slot onto the corresponding perspex strip. Next ease in the two sides working evenly along both at the same time so the roof evenly slots down into place.  Finally fit the last edge onto the Perspex. The roof should slot in evenly with the same size gaps and triangular spacing as the wall sections.Finish:When the sculpture is assembled make any last alteration by either moving, wiggling or pushing panels. Check that all the gaps between panels are evenly spaced and all the corner triangles are even in appearance. Touch-up, fill, sand and/or repaint any scuffs and/or paint work.Take down:Exactly as above but in reverse, Make sure when taking down panels that the perspex strips are removed early as they are likely to get caught between rebates and can easily drop out and potentially scratch etc.A cubic room with transparent edges and a door on one side. White on the outside, but dark inside, with the only light coming in through the perspex edges.

Mirror

Wood and perspex

A cubic room with transparent edges and a door on one side. White on the outside, but dark inside, with the only light coming in through the perspex edges.

Identity

Illusion

Installation info: MIRROR INSTALLATION & DEINSTALLATION INSTRUCTIONS Placing the floor: Take the panels out of the crates and differentiate the position that each one should take in relation to the whole sculpture. The panels have their positions written on them on the inside center in pencil. Position the floor base and decide on its orientation.