Mercer Residencies Exhibition
Nick Turvey & Anne Mercedes
RBS Studio Gallery
15th August – 23rd September 2011
108 Old Brompton Road
London SW7 3RA
Image: What do you want to be when you grow up?
Author: nick
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Mercer-RBS
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The Binding Problem
2011. Carrara marble. 80 x 65 x 65 cm.
Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
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The Binding Problem
2011. Carrara marble. 80 x 65 x 65 cm.
Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
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The Binding Problem
2011. Carrara marble. 80 x 65 x 65 cm.
Dying in his cell or hospital bed, trapped in memories, Beckett’s character Malone recounts: “When I open staring wide my eyes I see at the confines of this restless gloom a gleam and shimmering as of bones, which was not hitherto the case, to the best of my knowledge. And I can even distinctly remember the paper-hangings or wallpaper still clinging to the walls in places and covered with a writhing mass of roses, violets and other flowers …”.
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Pietrasanta
RBS Members working in Pietrasanta. Group Show.
Chiostro di Sant’ Agostino
26th March – 10th April 2011.
Hanneke Beaumont, Robin Bell, Nicolas Bertoux, Helaine Blumenfeld, Eppe de Haan, Maria Gamundi, Sylvestre Gauvrit, Anat Golandski, Barbara Hodgkins, Immanuel Klein, Briony Marshall, Ron Mehlman, Nicolas Moreton, Louise Plant, Shelley Robzen, Cynthia Sah, Inger Sannes, Eja Siepman van der Berg, Matthew Simmonds, Almuth Tebbenhoff, Nick Turvey, Julia Vance, Maja van Hall, Jill Watson, Lars Widenfalk
Pietrasanta, Italy.
Tuesday – Sunday 16.00 – 19.00 hrsImage: ‘What do you want to be when you grow up?’ at Studio Sem
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National Sculpture Prize
2011 National Sculpture Prize. Finalists exhibition.
Broomhill Art & Sculpture Foundation
June 1st 2011 – Feb 28th 2012
Muddiford Rd, Barnstaple, North Devon, EX31 4EX.
Open daily.Image: Conscience
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Brian Mercer Award
Recipient of the 2010 Mercer Award, which provides a fully funded 3 month residency at Studio Sem in Pietrasanta, Italy. The award is designed to provide established and talented sculptors working in materials other than stone the opportunity to investigate the expressive potential of marble.
Studio Sem is one of the most renowned fine art stone studios in the world, having realised monumental works for an international roster of famous artists.
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Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.
What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
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Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.
What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
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Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.
What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
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Liberté, Égalité, Fraternité
2010. Pink Portuguese marble. 45 x 31 x 17 cm.
I like to use materials not so much as a medium, but more as a physical fact, poetically entangled with historical, political, and other associations. Working with marble in Pietrasanta, one is surrounded by the skills, traditions and examples of neoclassicism – heroic, dramatic, illusionistic. Yet this metamorphosis of the body into stone betrays a fundamental unease, a fear of the body’s messiness and complexity, which provided the context for my work. I have sampled or isolated elements of neoclassical style, unsettling yet strangely familiar, in the service of what I consider a blackly comic form of existentialism.
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Liberté, Égalité, Fraternité
2010. Pink Portuguese marble. 45 x 31 x 17 cm.
I like to use materials not so much as a medium, but more as a physical fact, poetically entangled with historical, political, and other associations. Working with marble in Pietrasanta, one is surrounded by the skills, traditions and examples of neoclassicism – heroic, dramatic, illusionistic. Yet this metamorphosis of the body into stone betrays a fundamental unease, a fear of the body’s messiness and complexity, which provided the context for my work. I have sampled or isolated elements of neoclassical style, unsettling yet strangely familiar, in the service of what I consider a blackly comic form of existentialism.
