Just Stop Soup

Oil and acrylic on canvas

Art History

Food

Warhol

Revolution

Cans

Painting

Transit Disaster Red on Yellow

Silkscreen ink on Heritage paper

Transit

Silkscreen

Untitled Fright Wig Piss Painting

Silkscreen ink and metallic paint on canvas

Icons

Piss

Waste

Masks

Self-Portrait

Faces

GT Hens Eggs

On the occasion of  the 55th Venice Biennale Turk created a site specific project for the Gervasuti Foundation.   The installation comprised of a work based on the artist’s ongoing Transit Disaster series. The title is a pun on ‘van’ and ‘vernacular‘, a metaphor implying the social connotations that the iconic white Ford van of the ‘90s represents in British society and a paradoxical play on the Venetian urban context, a city without roads.  Vanacular reconfigures a language of identity between that which is considered an accident of fate and that which is invested with intent, both in art and in life.Turk often recycles famous art historical imagery in order to make contemporary societal correlations. Vanacular revives the classic pop-art technique of silk-screen-on-canvas while referencing the works of its most celebrated exponents Andy Warhol and Robert Raushenberg with his 18 metre long Currents (1970). Inspired by Warhol’s famous Death And Disaster series (1962-3), which were derived from photographs of fatal car accidents taken from newspapers, Turk’s Vanacular comprises of a 27 metre long canvas with a selection of sourced images of crashed and/or burnt-out Ford Transit vans.  The expressive shapes of the distorted metal, every scratch as if charged with meaning, also allude to the underlying social tensions that led to the 2011 London riots which some of these images come from.  The repeated still images silk-screened in a ‘Warhol style’ range of colour combinations produce an animated effect as if to suggest a disaster movie. The orchestration of colours enhances this sense of motion which in turn effects a transformation or change from the stasis of the crashed vans into a new energy or lifeforce. The Transit Disaster series is not merely a pastiche of Warhol’s famous car crash paintings since Turk replaces the American car with an image of a white transit van, a symbol of a disappearing era of working class Britain. Vanacular also relates, albeit indirectly, to the term ‘Fordism’, the notion of a modern economic and social system based on an assembly line of mass production for a mass market. Turk’s Vanacular represents a visual manifestation of urban unrest, which through continuous clashes and disasters is heading towards a materialistic mutation.

Vanacular

Silikscreen on canvas

On the occasion of the 55th Venice Biennale Turk created a site specific project for the Gervasuti Foundation. The installation comprised of a work based on the artist’s ongoing Transit Disaster series. The title is a pun on ‘van’ and ‘vernacular‘, a metaphor implying the social connotations that the iconic white Ford van of the ‘90s represents in British society and a paradoxical play on the Venetian urban context, a city without roads. Vanacular reconfigures a language of identity between that which is considered an accident of fate and that which is invested with intent, both in art and in life.Turk often recycles famous art historical imagery in order to make contemporary societal correlations. Vanacular revives the classic pop-art technique of silk-screen-on-canvas while referencing the works of its most celebrated exponents Andy Warhol and Robert Raushenberg with his 18 metre long Currents (1970). Inspired by Warhol’s famous Death And Disaster series (1962-3), which were derived from photographs of fatal car accidents taken from newspapers, Turk’s Vanacular comprises of a 27 metre long canvas with a selection of sourced images of crashed and/or burnt-out Ford Transit vans. The expressive shapes of the distorted metal, every scratch as if charged with meaning, also allude to the underlying social tensions that led to the 2011 London riots which some of these images come from. The repeated still images silk-screened in a ‘Warhol style’ range of colour combinations produce an animated effect as if to suggest a disaster movie. The orchestration of colours enhances this sense of motion which in turn effects a transformation or change from the stasis of the crashed vans into a new energy or lifeforce. The Transit Disaster series is not merely a pastiche of Warhol’s famous car crash paintings since Turk replaces the American car with an image of a white transit van, a symbol of a disappearing era of working class Britain. Vanacular also relates, albeit indirectly, to the term ‘Fordism’, the notion of a modern economic and social system based on an assembly line of mass production for a mass market. Turk’s Vanacular represents a visual manifestation of urban unrest, which through continuous clashes and disasters is heading towards a materialistic mutation.

Vehicles

On the occasion of the 55th Venice Biennale Turk created a site specific project for the Gervasuti Foundation. The installation comprised of a work based on the artist’s ongoing Transit Disaster series. The title is a pun on ‘van’ and ‘vernacular‘, a metaphor implying the social connotations that the iconic white Ford van of the ‘90s represents in British society and a paradoxical play on the Venetian urban context, a city without roads.

Banana

Yellow neon

Sculpture

Ghost Pop

Sid Vicious

Outsider

Punk Gunslinger Blue and Green

Diamond dust and acrylic paint on canvas

Acrylic paint and diamond dust on canvas

Celebrity

Punk Gunslinger Yellow and Orange

Rock Gunslinger Pink and Red

Elvis

Rock Gunslinger Yellow and Green

Double Blue Elvis

The artist as Elvis in blue and black on silver

Electric Elvis

Disaster series painting featuring a Transit Van in black on beige in multiple printAppropriations of appropriations, Turk&rsquo;s Transit Disaster series re-cycles Warhol&rsquo;s car crash paintings from the Pop Artist&rsquo;s Death And Disaster series, which in turn were re-cycled from photographs of fatal accidents taken from newspapers. Except, rather than an American car, the vehicle in question in Turk&rsquo;s work is the iconic white van, symbol of a certain white working class Britishness, now dying its own kind of slow death, as the UK moves into a post-industrial, multi-cultural era, where demand for them is beginning to diminish. Where Warhol&rsquo;s &ldquo;originals&rdquo;, anesthetized violence through multiple reproductions in bright, saturated colours, so the Transit Disaster paintings become abstractions of abstractions, transforming horror into beauty and death into something striking and sexy as the deformed metal of the crashes become textures, patterns and shapes, with the notion of Britishness becoming the ultimate casualty.

Transit Disaster Beige

Disaster series painting featuring a Transit Van in black on beige in multiple print

The artist as Elvis in black diamond dust on red ground

Black Diamond Elvis

Large Red Fright Wig

Silkscreen ink and diamond dust on paper

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

Punk

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

Pop Diptych

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

Hand gun section taken from Pop image in black on gold

Pop Gun Gold

Artist

Double Pop

Identity

Installation info: Hang on wall avoiding direct sunlight, heat and moisture

Double Red Pop Gun

Installation info: Hang on wall avoiding direct sunlight, heat and moisture

Appropriations of appropriations, Turk’s Transit Disaster series re-cycles Warhol’s car crash paintings from the Pop Artist’s Death And Disaster series, which in turn were re-cycled from photographs of fatal accidents taken from newspapers. Except, rather than an American car, the vehicle in question in Turk’s work is the iconic white van, symbol of a certain white working class Britishness, now dying its own kind of slow death, as the UK moves into a post-industrial, multi-cultural era, where demand for them is beginning to diminish. Where Warhol’s “originals”, anesthetized violence through multiple reproductions in bright, saturated colours, so the Transit Disaster paintings become abstractions of abstractions, transforming horror into beauty and death into something striking and sexy as the deformed metal of the crashes become textures, patterns and shapes, with the notion of Britishness becoming the ultimate casualty.

Transit vs Cobra Disaster Red

Appropriations of appropriations, Turk’s Transit Disaster series re-cycles Warhol’s car crash paintings from the Pop Artist’s Death And Disaster series, which in turn were re-cycled from photographs of fatal accidents taken from newspapers. Except, rather than an American car, the vehicle in question in Turk’s work is the iconic white van, symbol of a certain white working class Britishness, now dying its own kind of slow death, as the UK moves into a post-industrial, multi-cultural era, where demand for them is beginning to diminish.

Fright Wig Black on White

Fright Wig Pink and Black on Yellow

Purple Fright Wig

A print of the artist as Elvis in black on mirror with chemical dissolve effect

Dorian Grey

Silkscreen and mirrored ink on glass

Mirrors

Flaneur

Ghost Fright Wig

Faded screen ink, silkscreen & aluminium

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

A triple print of the piece Pop which shows

A used yellow screen printing screen with a washed out black image of the Artist as Andy Warhol.

Fright Screen

Appropriation

A used yellow screen printing screen with a washed out black image of the Artist as Andy Warhol.

A line drawing in the style of Warhol made from a photograph of Warhol attending an opening at the ICA.

I.C.Andy

Coloured pencil on paperPrint of font

Dandy

Work on paper

A line drawing in the style of Warhol made from a photograph of Warhol attending an opening at the ICA.