Zwei Erloschene Kerzen

Oil and acrylic on canvas

Art History

Authorship

Zwei Kerzen Löschen

Oil on linen

Schädel und Ei

Nur Eine Kerze

Kerze Ausmachen

Kerze mit Schädel

Kerze und  Schädel

Kerzen

Herbstkerzen

Eine Erloschene Kerze

Painting

Eine Kerze Brennt Noch

Drei Erloschene Kerzen

Kerzenmalerei

Kirchenkerze

Meta-Kerze

Kerzen (Grün und Blau) (2)

Fire

Kerzen (Grün und Blau)

Kerzen (Grün und Grau)

Eine Kerze

Erloschene Kerze

Drei Kerzen

Candle (after Richter) 

A study drawing on blueprint paper for the piece ‘Cave’.

pencil on blueprint

A study drawing on blueprint paper for the piece ‘Cave’.

Fate

Illusion

Work on paper

Study for Cave

The original blue plaque from 'Cave' installation encased in a Beuysian vitrine made with boards from the room walls when first shown.

In the summer of 1991 for his graduation show from the Royal College of Art, the artist exhibited a blue Heritage plaque in an otherwise empty studio which commemorated his own presence as a sculptor.

The title Cave refers to an allegorical picture of Plato, which describes a model of perception. A group of prisoners have been chained in a cave since childhood with no experience of reality other than the flickering shadows cast by the people and things moving along a path in front of a fire situated behind them. In the plaque, the artist was represented by a retrospective view of his life.

Relic (Cave)

original plaque from Cave installation in vitrine

The original blue plaque from 'Cave' installation encased in a Beuysian vitrine made with boards from the room walls when first shown. In the summer of 1991 for his graduation show from the Royal College of Art, the artist exhibited a blue Heritage plaque in an otherwise empty studio which commemorated his own presence as a sculptor. The title Cave refers to an allegorical picture of Plato, which describes a model of perception. A group of prisoners have been chained in a cave since childhood with no experience of reality other than the flickering shadows cast by the people and things moving along a path in front of a fire situated behind them. In the plaque, the artist was represented by a retrospective view of his life.

Celebrity

Death

Sculpture

The original blue plaque from 'Cave' installation encased in a Beuysian vitrine made with boards from the room walls when first shown. In the summer of 1991 for his graduation show from the Royal College of Art, the artist exhibited a blue Heritage plaque in an otherwise empty studio which commemorated his own presence as a sculptor.

An ‘historical blue plaque’ to commemorate work done by the artist during his time at the Royal College of Art. In a sky-lit wood-panelled room inside the Royal College of Art mounted on an otherwise empty wall in an otherwise empty room, a blue ceramic English heritage plaque reads “Gavin Turk, Sculptor, worked here 1989 – 1991”. A commemoration of a life, it marks the presence of the artist with the most powerful and evocative of the tools that might be at his disposal - his absence. The curtain has fallen. The titles are rolling. Gavin Turk has left the stage. Death as performance. While the absence of the artist, we make the art. The artist is no more and all that is left for the audience in this empty white space is to reverently imagine the work which once filled this space, while apprehending that the emptiness is the work. And so material object of the plaque frames the space and the art work frames the artist, the one somehow preceding the other in an elliptical sleight of hand, as the end frames the beginning. All that is left behind of the artist is a memorial to an implied body of work, and by extension, an implied life and worth, while the title, after Plato’s famous allegory, tells of a hidden reality we can neither see nor know. In an unexpected twist to the tale, Cave has additionally become infamous as the piece of work that "won" Turk a fail for his Masters which he had been studying for at the Royal College of Art. Ironically, it has gone on to become regarded as one of Turk's most iconic pieces.

Cave

Ceramic plaque in room

An ‘historical blue plaque’ to commemorate work done by the artist during his time at the Royal College of Art. In a sky-lit wood-panelled room inside the Royal College of Art mounted on an otherwise empty wall  in an otherwise empty room, a blue ceramic English heritage plaque reads “Gavin Turk, Sculptor, worked here 1989 – 1991”. A commemoration of a life, it marks the presence of the artist with the most powerful and evocative of the tools that might be at his disposal - his absence. The curtain has fallen. The titles are rolling. Gavin Turk has left the stage. Death as performance. While the absence of the artist, we make the art. The artist is no more and all that is left for the audience in this empty white space is to reverently imagine the work which once filled this space, while apprehending that the emptiness is the work. And so material object of the plaque frames the space and the art work frames the artist, the one somehow preceding the other in an elliptical sleight of hand, as the end frames the beginning. All that is left behind of the artist is a memorial to an implied body of work, and by extension, an implied life and worth, while the title, after Plato’s famous allegory, tells of a hidden reality we can neither see nor know. In an unexpected twist to the tale, Cave has additionally become infamous as the piece of work that "won" Turk a fail for his Masters which he had been studying for at the Royal College of Art. Ironically, it has gone on to become regarded as one of Turk's most iconic pieces.

Installation

An ‘historical blue plaque’ to commemorate work done by the artist during his time at the Royal College of Art. In a sky-lit wood-panelled room inside the Royal College of Art mounted on an otherwise empty wall in an otherwise empty room, a blue ceramic English heritage plaque reads “Gavin Turk, Sculptor, worked here 1989 – 1991”. A commemoration of a life, it marks the presence of the artist with the most powerful and evocative of the tools that might be at his disposal - his absence. The curtain has fallen. The titles are rolling. Gavin Turk has left the stage. Death as performance.

A ceramic replica of the original ‘historical blue plaque’ which was shown by the Artist in his degree show at the Royal College of Art.

Cavey

Ceramic plaque

A ceramic replica of the original ‘historical blue plaque’ which was shown by the Artist in his degree show at the Royal College of Art.

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

Mirrors

Infinity

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.