This work re-presents a safe, transforming it into a contemporary icon. Invested with mythological and economic significance. The object symbolises physical wealth in a world now dominated by a new belief system of data and digital currencies. 
 
‘I see Safe, as a ritualistic object, for me it acts as a sacred hearth or the golden egg’
 
This object triggers questions around value and security. This protective modern shaped container forever sealed shut is a found object, contents unknown.


Safe

Gold leaf on steel

This work re-presents a safe, transforming it into a contemporary icon. Invested with mythological and economic significance. The object symbolises physical wealth in a world now dominated by a new belief system of data and digital currencies. ‘I see Safe, as a ritualistic object, for me it acts as a sacred hearth or the golden egg’ This object triggers questions around value and security. This protective modern shaped container forever sealed shut is a found object, contents unknown.

Alchemy

Money

Sculpture

This work re-presents a safe, transforming it into a contemporary icon. Invested with mythological and economic significance. The object symbolises physical wealth in a world now dominated by a new belief system of data and digital currencies. ‘I see Safe, as a ritualistic object, for me it acts as a sacred hearth or the golden egg’ This object triggers questions around value and security. This protective modern shaped container forever sealed shut is a found object, contents unknown.

Cosmic Egg (Moon Rising)

Mixed media and resin on plywood

Eggs

Recycling

Holy Egg (Medium Yellow)

Acrylic paint and diamond dust on canvas

Metaphysical Composition

Acrylic on canvas with string

Holy Egg (Pale Pink)

Gold Banana

Gold leaf and acrylic paint on canvas

Food

Klein

Holy Egg (Small White)

She Sells Sea Shells on the Sea Shore

Found object

Artist's Piss

Urine in aluminium can

Piss

Waste

Duchamp

Cans

Holy Egg (Large Shiny Copper) 

Polished copper on birch ply stretcher 

Holy Egg (Small Shiny Copper)

Holy Egg (GT Reversed White)

Vermillion Geometry

Painting

Orange and Red

Cyan Geometry 

Blue and Green Geometry

Scarlet Geometry

Small Copper Holy Egg

Polished copper on birch plywood

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown. The punctures on the surface allude to Jesus Christ's stigmata. Titled "Holy Egg", this series of works plays with notions of the authenticity of art as well as the aura of the artwork, alluding to the religious symbolism associated with the egg as well as to a long-standing historical relationship between art and religion, iconography and iconoclasm.

Holy Egg (Small Dotty Copper)

Patinated copper on birch ply stretcher

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown. The punctures on the surface allude to Jesus Christ's stigmata. Titled "Holy Egg", this series of works plays with notions of the authenticity of art as well as the aura of the artwork, alluding to the religious symbolism associated with the egg as well as to a long-standing historical relationship between art and religion, iconography and iconoclasm.

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich metallic surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the copper face whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown.

Holy Egg (Small Mild Steel)

Steel, paint and birch plywood

Holy Egg (Small Polished Brass)

Brass on birch ply stretcher

Holy Egg (Corten)

Corten steel on wooden stretcher

Holy Egg (Small Steel)

Oxidised steel on wooden stretcher

Alchemical Egg

Chalk and blackboard paint on canvas

Holy Egg (Dichroic Medium)

Diamond dust and acrylic paint on canvas

Blue Geometry

Green Geometry

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich painterly surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the canvas whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown. The fleshy quality of the paint surrounding the punctures on the canvas allude to Jesus Christ's stigmata. Titled "Holy Egg", this series of works plays with notions of the authenticity of art as well as the aura of the artwork, alluding to the religious symbolism associated with the egg as well as to a long-standing historical relationship between art and religion, iconography and iconoclasm.

Holy Egg (Vermilion)

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich painterly surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the canvas whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown. The fleshy quality of the paint surrounding the punctures on the canvas allude to Jesus Christ's stigmata. Titled "Holy Egg", this series of works plays with notions of the authenticity of art as well as the aura of the artwork, alluding to the religious symbolism associated with the egg as well as to a long-standing historical relationship between art and religion, iconography and iconoclasm.

An appropriation of Lucio Fontana's "Fine di Dio" (The End of God), this egg-shaped painting is dramatically perforated, its rich painterly surface vandalized as Gavin Turk's initials are subtly cast by the punctured holes, revealing the empty space behind the canvas whilst remitting the painting to a three-dimensional object. The egg, as a heavily charged archetypal sign brings-up notions of beginning and end, the alpha and omega of all things, a closed loop, that which is before speech and thought, the inaccessible unknown.