Turner’s artwork celebrates the wonder of the commonplace. Visually, his work has a sense of humour and delights in the moment.
As one looks deeper, however, there are recurring themes: the fluidity of the line, the juxtaposition between sculpture and drawing
and a celebration of art for art’s sake.
Turner infuses life into everyday objects, figures and gestures. His drawings are transposed into metal in a way that gives them
a timeless three dimensionality.
“I simplify and condense shapes such as the legs of a woman or the small of her back, always looking for the essential lines.”
Turner’s work often challenges the assumptions of what viewers are seeing. In his ‘Red Chair Studies’, for example, Turner employs
trompe-l’oeil and forced perspective techniques to create the illusion that his chairs exist in three dimensions, yet are almost paper thin.
Their placement on a wall not only plays with the viewer’s perceptions but also explores the boundary between image and reality.
“I enjoy engaging the viewer in a bit of whimsy or playfulness while at the same time giving appreciation to those things around us
that we often overlook.”
The giant polished aluminum ‘Picture Hook’ sculpture is a visual pun replicating a typical picture hook from which one hangs art.
In this new context, however, Turner is asking the viewer, what is the art? Is it the object hanging from the picture hook or is it the
picture hook upon which the art hangs? Or both?
With ‘Lisa’s Legs’, Turner was able to take a sketch of his wife lying beside him in bed and render this private yet fleeting gesture
into something more permanent. It’s an everyday moment represented in a striking visual statement.
His ‘Rear Torso’ again plays with viewer’s perceptions. The simplified sculptural medium that Turner employs enables him to present
the beautiful lines of a woman’s lower torso in a manner that is lyrical and intimate.
Turner, who is also a filmmaker, endeavours to make all his creative works both engaging and provoking for the intellectually and
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