Nick Turvey

Aeolus
2010. Corten steel. 200 x 200 x 200 cm.

Project for Marseillan.
From the Darkness
Group Show.

Mascall’s Gallery

1st – 23rd May 2010.

Little St. Peter’s Church, Preston Drove, Brighton BN1 6SD.
Open daily 11.00 – 15.00 hrs.

Image: Hidden Dimensions (detail)
Sculpture Promenade
Group show.

The Fitzwilliam Museum

23rd March 2010 – 30th January 2011.

Ann Christopher, Angela Connor, Nick Hornby, Mike Lyons, Nick Turvey, Rob Ward.

Trumpington Street, Cambridge CB2 1RB

Image: Venus and Chief
Venus
2010. Polyurethane rubber, foam & stainless steel. 300 x 140 x 140 cm.
Venus
2010. Polyurethane rubber, foam & stainless steel. 300 x 140 x 140 cm.
Venus
2010. Polyurethane rubber, foam & stainless steel. 300 x 140 x 140 cm.
Chief
2010. Corten Steel & enamel paint. 400 (l) x 135 (w) x 170 cm (h)

The timeless word ‘Chief’ aims to provoke reflections on our need for heroes, and this toppled giant, slumped in defeat, alludes to propagandist embodiments of power laid low, the pathos of the heroic body. There is something clearly skeletal about the form, which, just like historical or political reputations, appears and dissolves, depending on one’s point of view.
Chief
2010. Corten Steel & enamel paint. 400 (l) x 135 (w) x 170 cm (h)

The timeless word ‘Chief’ aims to provoke reflections on our need for heroes, and this toppled giant, slumped in defeat, alludes to propagandist embodiments of power laid low, the pathos of the heroic body. There is something clearly skeletal about the form, which, just like historical or political reputations, appears and dissolves, depending on one’s point of view.
Chief
2010. Corten Steel & enamel paint. 400 (l) x 135 (w) x 170 cm (h)

The timeless word ‘Chief’ aims to provoke reflections on our need for heroes, and this toppled giant, slumped in defeat, alludes to propagandist embodiments of power laid low, the pathos of the heroic body. There is something clearly skeletal about the form, which, just like historical or political reputations, appears and dissolves, depending on one’s point of view.
Undulatory Medium
2009. Acrylic and stainless steel. 100 x 100 x 6 cm.

Commission for St. Helens & Knowsley Teaching Hospital. 19th century scientists believed the waveform of light propagated through a resonant medium called the luminiferous aether, which filled the whole of space. Despite the theory falling out of favour, when aether proved undetectable, the idea remains a potent metaphor for rendering tangible the invisible. In this wall sculpture, an array of illusory volumes is created by the surrounding matrix, embodying many different dimensions of movement, oscillation, and rotation.
Undulatory Medium
2009. Acrylic and stainless steel. 100 x 100 x 6 cm.

Commission for St. Helens & Knowsley Teaching Hospital. 19th century scientists believed the waveform of light propagated through a resonant medium called the luminiferous aether, which filled the whole of space. Despite the theory falling out of favour, when aether proved undetectable, the idea remains a potent metaphor for rendering tangible the invisible. In this wall sculpture, an array of illusory volumes is created by the surrounding matrix, embodying many different dimensions of movement, oscillation, and rotation.
Surrogate
2009. Vinyl rubber. 51 x 24 x 24 cm.

The Incarnate series began with variations and elaborations of a basic undulatory form, much like musical variations on a theme. This base form is a proxy ( or idealised) human body, and the variations aim to catalogue possibilities for the human body considered as an object, both in terms of its constituent materials and their associated properties (an idea that relates to the medieval system of ‘Humours’), but also in the body’s role as a symbol or prop in fetish, myth and propaganda.
Surrogate
2009. Vinyl rubber. 51 x 24 x 24 cm.

The Incarnate series began with variations and elaborations of a basic undulatory form, much like musical variations on a theme. This base form is a proxy ( or idealised) human body, and the variations aim to catalogue possibilities for the human body considered as an object, both in terms of its constituent materials and their associated properties (an idea that relates to the medieval system of ‘Humours’), but also in the body’s role as a symbol or prop in fetish, myth and propaganda.
Nereid
2009. Plaster. 51 x 23 x 23 cm.
Nereid
2009. Plaster. 51 x 23 x 23 cm.
Nereid
2009. Plaster. 51 x 23 x 23 cm.
Massive Orange Object
2009. Polyurethane and stainless steel. 275 x 25 x 180 cm.

A giant lens creates an intense disruption of space, the object itself transformed into a phenomenon or force field, deconstructing and re-ordering perception.

Commissioned by Lambeth Arts and Mount Anvil. Permanently installed outside the old South Bank University in London. The address is 345 Wandsworth Road, London SW8, next to the junction with Lansdowne Way.