Team Gallery is pleased to announce Daniel Turner's participation in Art | 45 | Art | Unlimited.
This series of sculptural works by New York-based Daniel Turner employs a fixed set of recurrent formal parameters: yellow cabinetry and countertops fabricated to an exacting, pristine finish and readymade stainless steel kitchen or factory hardware which is then hewn, ground and tarnished by the artist. The proportions of the units themselves either conform to or react directly against those of the human body—a waist-level countertop will extend into a cantilever, while a counter and steel bay set at thigh level will eschew any familiar sense of human utility. Though resonant with the domestic experience, the spatial character of Turner's sink units—which accommodate the human form in manifold proportions— tend to attract tertiary associations—the school, the factory, the laboratory, and the feedlot. Despite the manufactured industrial provenance of their materials, Turner's sphinx-like sculptures intentionally vibrate at the boundary between pure familiarity and pure abstraction. Rather than proclaiming the artist’s hand, a vague residue on the stainless steel seems more the byproduct of some recent activity, but whether that is cleaning, feeding, butchering or something else altogether is left unclear.
This series of sculptural works by New York-based Daniel Turner employs a fixed set of recurrent formal parameters: yellow cabinetry and countertops fabricated to an exacting, pristine finish and readymade stainless steel kitchen or factory hardware which is then hewn, ground and tarnished by the artist. The proportions of the units themselves either conform to or react directly against those of the human body—a waist-level countertop will extend into a cantilever, while a counter and steel bay set at thigh level will eschew any familiar sense of human utility. Though resonant with the domestic experience, the spatial character of Turner's sink units—which accommodate the human form in manifold proportions— tend to attract tertiary associations—the school, the factory, the laboratory, and the feedlot. Despite the manufactured industrial provenance of their materials, Turner's sphinx-like sculptures intentionally vibrate at the boundary between pure familiarity and pure abstraction. Rather than proclaiming the artist’s hand, a vague residue on the stainless steel seems more the byproduct of some recent activity, but whether that is cleaning, feeding, butchering or something else altogether is left unclear.
