Casa di Giorgio

Oil and acrylic on canvas

Art History

Doors

Domestic

Painting

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

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.

Painted Bronze

Small Door (Green & Red) 

This work is an artists impression of a life sized door sculpture.

This work is an artists impression of a life sized door sculpture. 

Small Door (Mauve & Pale Blue) 

This work is an artists impression of a life sized door sculpture. The baseplate can be adapted to requirements such as being set in the ground.

This work is an artists impression of a life sized door sculpture. The baseplate can be adapted to requirements such as being set in the ground.

Small Door (Mint & Lime Green) 

Small Door (Mustard Yellow)

As a direct reference to the painting ‘La Victoire’ by Rene Magritte. Ajar is a surreal gateway: a spiritual journey through the imagination, an interactive sculpture that children will enjoy as much as adults. It is a key to the imagination: unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite."	It simultaneously references Duchamp earlier work ‘11 Rue Larrey’ the door that is never open or shut. This sculpture is designed as an inside installation but with two doorways it is never definitively open or closed. Ajar would be placed without walls and permanently open encouraging the choice to go around, or go through.

Ajar (Highbury)

Patinated bronze

As a direct reference to the painting ‘La Victoire’ by Rene Magritte. Ajar is a surreal gateway: a spiritual journey through the imagination, an interactive sculpture that children will enjoy as much as adults. It is a key to the imagination: unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite."

Small Door (Terracotta & Blue)

Yellow neon door mounted on a black wallAs a direct reference to the painting ‘La Victoire’ by Rene Magritte. Port is a surreal gateway: a spiritual journey through the imagination.  It is a key to unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite."	It simultaneously references Duchamp earlier work ‘11 Rue Larrey’ the door that is never open or shut.

Port (Yellow)

Yellow neon mounted on a black wall

Signatures

Sculpture

Yellow neon door mounted on a black wall As a direct reference to the painting ‘La Victoire’ by Rene Magritte. Port is a surreal gateway: a spiritual journey through the imagination. It is a key to unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite." It simultaneously references Duchamp earlier work ‘11 Rue Larrey’ the door that is never open or shut.

Small Door (Cream & Greige)

Blue Door

Digital print on paper

Work on paper

Green Door

Pink Door

Installation info: Wall mounted with clear plastic spacers and nickel wire and with three plugsAs a direct reference to the painting ‘La Victoire’ by Rene Magritte. Port is a surreal gateway: a spiritual journey through the imagination.  It is a key to unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite."	It simultaneously references Duchamp earlier work ‘11 Rue Larrey’ the door that is never open or shut.

Port (Blue)

Blue neon mounted on a black wall

As a direct reference to the painting ‘La Victoire’ by Rene Magritte. Port is a surreal gateway: a spiritual journey through the imagination. It is a key to unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite."	It simultaneously references Duchamp earlier work ‘11 Rue Larrey’ the door that is never open or shut.

Signs

Illusion

Installation info: Wall mounted with clear plastic spacers and nickel wire and with three plugs As a direct reference to the painting ‘La Victoire’ by Rene Magritte. Port is a surreal gateway: a spiritual journey through the imagination. It is a key to unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake. "If the doors of perception were cleansed, everything would appear to man as it is, infinite." It simultaneously references Duchamp earlier work ‘11 Rue Larrey’ the door that is never open or shut.

Disembodied from any room, structure or building, this painted bronze door, which appears from its peeling varnish, to have been left to the elements from some years, opens or closes (depending on which way you look at it) onto infinite possibilities and nothingness, alike. A playful homage to William Blake’s famous doors of perception, visitors are invited to walk through Turk’s door into the enchanting realms of the imagination and beyond.

Ajar (White)

Disembodied from any room, structure or building, this painted bronze door, which appears from its peeling varnish, to have been left to the elements from some years, opens or closes (depending on which way you look at it) onto infinite possibilities and nothingness, alike. A playful homage to William Blake’s famous doors of perception, visitors are invited to walk through Turk’s door into the enchanting realms of the imagination and beyond.