sculpture › Nick Turvey

Everything Is Under Control
2012. Garden shed, fluorescent paint, barrier tape & fencing. 250 x 1000 x 1000 cm.

“Everything is under control. There is nothing to see. For your safety and security do not stop to take photographs. Please keep moving. There is no cause for concern. The appropriate authorities have been informed.”
Relic
2011. Acacia wood. 168 x 27 x 25 cm.
Life Sentence
2011. Mixed Media. 120 x 110 x 80 cm.
Host
2011. Jelly – 50 x 30 x 30 cm.

We are meat, infected by language.
Sculptour
Group show

Beukenhof-Phoenix Gallery

1st May – 30th September 2011

Beukenhof-Phoenix, Ronde van Vlaanderenstraat 9-11, B-9690 Kluisbergen, Belgium.
Open daily 14.00 – 19.00 hrs.

Image: Chief
The Binding Problem
2011. Carrara marble. 80 x 65 x 65 cm.

Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
The Binding Problem
2011. Carrara marble. 80 x 65 x 65 cm.

Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
The Binding Problem
2011. Carrara marble. 80 x 65 x 65 cm.

Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
Dream
2011. White marble – 42 x 48 x 25 cm.
Dream
2011. White marble – 42 x 48 x 25 cm.
Dream
2011. White marble – 42 x 48 x 25 cm.
Pietrasanta
RBS Members working in Pietrasanta. Group Show.

Chiostro di Sant’ Agostino

26th March – 10th April 2011.

Hanneke Beaumont, Robin Bell, Nicolas Bertoux, Helaine Blumenfeld, Eppe de Haan, Maria Gamundi, Sylvestre Gauvrit, Anat Golandski, Barbara Hodgkins, Immanuel Klein, Briony Marshall, Ron Mehlman, Nicolas Moreton, Louise Plant, Shelley Robzen, Cynthia Sah, Inger Sannes, Eja Siepman van der Berg, Matthew Simmonds, Almuth Tebbenhoff, Nick Turvey, Julia Vance, Maja van Hall, Jill Watson, Lars Widenfalk

Pietrasanta, Italy.
Tuesday – Sunday 16.00 – 19.00 hrs

Image: ‘What do you want to be when you grow up?’ at Studio Sem
Brian Mercer Award
Recipient of the 2010 Mercer Award, which provides a fully funded 3 month residency at Studio Sem in Pietrasanta, Italy. The award is designed to provide established and talented sculptors working in materials other than stone the opportunity to investigate the expressive potential of marble.

Studio Sem is one of the most renowned fine art stone studios in the world, having realised monumental works for an international roster of famous artists.
Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.

What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.

What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.

What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
Liberté, Égalité, Fraternité
2010. Pink Portuguese marble. 45 x 31 x 17 cm.

I like to use materials not so much as a medium, but more as a physical fact, poetically entangled with historical, political, and other associations. Working with marble in Pietrasanta, one is surrounded by the skills, traditions and examples of neoclassicism – heroic, dramatic, illusionistic. Yet this metamorphosis of the body into stone betrays a fundamental unease, a fear of the body’s messiness and complexity, which provided the context for my work. I have sampled or isolated elements of neoclassical style, unsettling yet strangely familiar, in the service of what I consider a blackly comic form of existentialism.