Nick Turvey

Tag: stone

  • Legacy

    Legacy

    2019. Alabaster. 40 x 40 x 16 cm.

    My father gave me a block of alabaster as a birthday present. It sat around for a year or two while I thought of something appropriate to do with it. Then he died, and the decision became even more charged. I thought about all the knowledge and interests and values that I admired about him, and which I aspire to emulate. They became embodied in objects and symbols, wrapped as a present, decorated with a bow, and owing something to the tradition of veiled funeral sculpture.

  • It’s A Boy (detail)

    It’s A Boy (detail)

    2014. Vitrine, wallpaper, carved marble. 79 x 41 x 129 cm.

  • For Your Safety and Security

    For Your Safety and Security

    New Sculptures: Bugs, Warheads & Vitrines. Solo exhibition

    Eleven Spitalfields Gallery

    Curated by Peter Fleissig

    4th July – 29th August 2014

    11 Princelet Street
    London E1 6QH

    elevenspitalfields.com
    020 7247 1816
    Open Monday to Friday 12 -6, by appointment.

  • The Binding Problem

    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 …”.

  • The Binding Problem

    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 …”.

  • The Binding Problem

    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 …”.

  • Dream

    Dream

    2011. White marble –  42 x 48 x 25 cm.

  • Dream

    Dream

    2011. White marble –  42 x 48 x 25 cm.

  • Dream

    Dream

    2011. White marble –  42 x 48 x 25 cm.

  • Pietrasanta

    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 hrs

    Image: ‘What do you want to be when you grow up?’ at Studio Sem

  • Liberté, Égalité, Fraternité

    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.

  • Liberté, Égalité, Fraternité

    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.

  • What do you want to be when you grow up?

    What do you want to be when you grow up?

    2010. White marble. 57 x 20 x 20 cm.

  • What do you want to be when you grow up?

    What do you want to be when you grow up?

    2010. White marble. 57 x 20 x 20 cm.

  • War Baby

    War Baby

    2010. Soapstone. 22 x 15 x 13 cm.

  • War Baby

    War Baby

    2010. Soapstone. 22 x 15 x 13 cm.

  • War Baby

    War Baby

    2010. Soapstone. 22 x 15 x 13 cm.