Lips taken from Pop image in black and pink on yellow

Yellow Sneer

Diamond dust and acrylic paint on canvas

Acrylic paint and diamond dust on canvas

Faces

Punk

Silkscreen

Lips taken from Pop image in black and pink on yellow

Installation info: Hang on wall avoiding direct sunlight, heat and moistureLips taken from Pop image in black and pink on white

White Sneer

Silkscreen ink and metallic paint on canvas

Installation info: Hang on wall avoiding direct sunlight, heat and moistureLips taken from Pop image in black and pink on white

Identity

Self-Portrait

Installation info: Hang on wall avoiding direct sunlight, heat and moisture Lips taken from Pop image in black and pink on white

Installation info: Hang directly on wall, butted together with no gap between.  Avoid direct sunlight, heat or moisture.

Pop Diptych

Warhol

Masks

Installation info: Hang directly on wall, butted together with no gap between. Avoid direct sunlight, heat or moisture.

Sneer Wallpaper

Digital print on pvc

Work on paper

Sneer Wallpaper Yellow

Hand gun section taken from Pop image of the artis as Sid Vicious in the pose of Andy Warhol's Elvis Presley

Blue Pop Gun

Double Pop

Elvis

A triple print of the piece Pop which showsthe artist as Sid Vicious in the pose of Andy Warhol's Elvis Presley, which imagined the be-quiffed star as a gunslinging cowboy - the original king of Pop as celebrated by the original &quot;king&quot; of Pop Art. A homage to both, Pop finds Turk adopting the same rebel snarl with the curled upper lip, not as the King of Pop but the dark Prince of punk. While Elvis was a sanitised icon of the music industry given a rebellious makeover by Warhol, Sid was a natural outsider who found himself somewhat accidentally at the heart of pop culture. Both came to untimely and sticky ends, sucked up and spat out by the same system, with a heavy dose of self-destruction thrown in for good measure. Certainly, there was nothing glossy or shiny or bright about the respective ends of these two nemeses. But if Pop is a comment on the nature of celebrity and the inbuilt self-destruction of the star system, which likes its martyrs young and damaged - with not a small nod at the martyrdom expected of artists should they ever hope to see their name up in lights, also - it is also a wry take on the commodification of culture, in which rebels and heroes, artists, art works and icons are reduced to products whose value is determined by the arbitrary randomness of the market. Removed from the mean streets of punk's DIY roots, this Sid Vicious is a reproducible multiple to be gazed upon at a safe distance. No longer a threat, this Sid Vicious may be pointing his gun, but the only things his piece is firing, are blanks. And what of The Artist? Once regarded as a outsider, has the market rendered Him an impotent and antiquated museum curiosity too? Has the gunslinger been relegated to the realm of cliche, no longer a threat but taken hostage by the very system he hoped to challenge? Is he now responsible for writing his own ransom note? Or is there still a possibility that he may yet lay claim to the mantra made famous twice, first by Frank Sinatra and then by Sid that, right to the end, glass vitrine and all, end, he did it &quot;My Way&quot;?

Gold Triple Pop

Acrylic silkscreen on paper

Icons

Sid Vicious

A triple print of the piece Pop which shows

Triple Pop

A print of the Artist as Joseph Beuys in fluorescent pink with an image of a safety pin through the nose. Displayed in a white box frame.

Pink Beuys (Nappy Pin)

Beuys

A print of the Artist as Joseph Beuys in fluorescent pink with an image of a safety pin through the nose. Displayed in a white box frame.

A print of the Artist as Joseph Beuys in fluorescent pink with an image of a safety pin through the lips. Displayed in a white box frame.

Pink Beuys (Pinned Mouth)

A print of the Artist as Joseph Beuys in fluorescent pink with an image of a safety pin through the lips. Displayed in a white box frame.

A framed muslin punk shirt with the Artist&rsquo;s signature across the front and a silk label reading &lsquo;Gavin Turk 1997&rsquo;, Punk Bunny I is a homage to the rebellious DIY spirit of punk, the artist's signature is taken off the canvas and onto torn piece of fabric artfully customised with the aid of zips into a shirt. An exemplary piece of DIY couture, this shirt no less a uniform than a military jacket. But is the shirt now art? Or is the artist now a punk? Or has this shirt, like everything else these days, been commodified and, in its commodification, relegated both punk and art to the realm of the souvenir?

Punk Bunny  I

Muslin, silk label, needle & thread

Signatures

Uniform

A framed muslin punk shirt with the Artist’s signature across the front and a silk label reading ‘Gavin Turk 1997’, Punk Bunny I

A framed muslin punk shirt made entirely of silk labels reading &lsquo;Gavin Turk 1997&rsquo;.

Hairshirt

Custom made silk labels & muslin in box frame

Mixed Media

A framed muslin punk shirt made entirely of silk labels reading ‘Gavin Turk 1997’.

A framed muslin punk shirt with the Artist&rsquo;s signature across the front and a silk label reading &lsquo;Gavin Turk 1997&rsquo;, Punk Bunny I is a homage to the rebellious DIY spirit of punk, the artist's signature is taken off the canvas and onto torn piece of fabric artfully customised with the aid of zips into a shirt. An exemplary piece of DIY couture, this shirt no less a uniform than a military jacket. But is the shirt now art? Or is the artist now a punk? Or is has this shirt, like everything else these days, been commodified and, in its commodification, relegated both punk and art to the realm of the souvenir?

Punk Bunny II

Pop is a waxwork figure of the artist as Sid Vicious in the pose of Andy Warhol's Elvis Presley, which imagined the be-quiffed star as a gunslinging cowboy - the original king of Pop as celebrated by the original "king" of Pop Art. A homage to both, Pop finds Turk adopting the same rebel snarl with the curled upper lip, not as the King of Pop but the dark Prince of punk. While Elvis was a sanitised icon of the music industry given a rebellious makeover by Warhol, Sid was a natural outsider who found himself somewhat accidentally at the heart of pop culture. Both came to untimely and sticky ends, sucked up and spat out by the same system, with a heavy dose of self-destruction thrown in for good measure. Certainly, there was nothing glossy or shiny or bright about the respective ends of these two nemeses. But if Pop is a comment on the nature of celebrity and the inbuilt self-destruction of the star system, which likes its martyrs young and damaged - with not a small nod at the martyrdom expected of artists should they ever hope to see their name up in lights, also - it is also a wry take on the commodification of culture, in which rebels and heroes, artists, art works and icons are reduced to products whose value is determined by the arbitrary randomness of the market. Removed from the mean streets of punk's DIY roots, this Sid Vicious is already a museum object, a historical curiosity in a glass vitrine to be gazed upon at a safe distance. No longer a threat, this Sid Vicious may be pointing his gun, but the only things his piece is firing, are blanks. And what of The Artist? Once regarded as a outsider, has the market rendered Him an impotent and antiquated museum curiosity too? Has the gunslinger been relegated to the realm of cliche, no longer a threat but taken hostage by the very system he hoped to challenge? Is he now responsible for writing his own ransom note? Or is there still a possibility that he may yet lay claim to the mantra made famous twice, first by Frank Sinatra and then by Sid that, right to the end, glass vitrine and all,

end, he did it "My Way"?

Waxwork in brass, wood and glass vitrine

Pop is a waxwork figure of the artist as Sid Vicious in the pose of Andy Warhol's Elvis Presley, which imagined the be-quiffed star as a gunslinging cowboy - the original king of Pop as celebrated by the original "king" of Pop Art. A homage to both, Pop finds Turk adopting the same rebel snarl with the curled upper lip, not as the King of Pop but the dark Prince of punk. While Elvis was a sanitised icon of the music industry given a rebellious makeover by Warhol, Sid was a natural outsider who found himself somewhat accidentally at the heart of pop culture. Both came to untimely and sticky ends, sucked up and spat out by the same system, with a heavy dose of self-destruction thrown in for good measure. Certainly, there was nothing glossy or shiny or bright about the respective ends of these two nemeses. But if Pop is a comment on the nature of celebrity and the inbuilt self-destruction of the star system, which likes its martyrs young and damaged - with not a small nod at the martyrdom expected of artists should they ever hope to see their name up in lights, also - it is also a wry take on the commodification of culture, in which rebels and heroes, artists, art works and icons are reduced to products whose value is determined by the arbitrary randomness of the market. Removed from the mean streets of punk's DIY roots, this Sid Vicious is already a museum object, a historical curiosity in a glass vitrine to be gazed upon at a safe distance. No longer a threat, this Sid Vicious may be pointing his gun, but the only things his piece is firing, are blanks. And what of The Artist? Once regarded as a outsider, has the market rendered Him an impotent and antiquated museum curiosity too? Has the gunslinger been relegated to the realm of cliche, no longer a threat but taken hostage by the very system he hoped to challenge? Is he now responsible for writing his own ransom note? Or is there still a possibility that he may yet lay claim to the mantra made famous twice, first by Frank Sinatra and then by Sid that, right to the end, glass vitrine and all, end, he did it "My Way"?

Celebrity

Fool

Outsider

Sculpture

Pop is a waxwork figure of the artist as Sid Vicious in the pose of Andy Warhol's Elvis Presley, which imagined the be-quiffed star as a gunslinging cowboy - the original king of Pop as celebrated by the original "king" of Pop Art. A homage to both, Pop finds Turk adopting the same rebel snarl with the curled upper lip, not as the King of Pop but the dark Prince of punk. While Elvis was a sanitised icon of the music industry given a rebellious makeover by Warhol, Sid was a natural outsider who found himself somewhat accidentally at the heart of pop culture.