•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
Saatchi Store
Current Exhibition

SELECTED WORKS BY Rebecca Turner

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Rebecca Turner
Dumbstruck

2011

Paper pulp, mixed media

150 cm in diameter
Rebecca Turner describes her work as “some parasitic creature[s] feeding off our architecture.” Dumbstruck, a ball of greyish-pink paper pulp protruding from the gallery wall, seems to have rested there on its way up, like a lone balloon after a children’s party. And yet its tense and muted energy, as the title suggests, create a darker atmosphere, where the apparent lightness of the paper ball, like something spat out of a biro in a classroom, seems suddenly weighty and uncontrollable. The sculptural occupation of physical space – a thing that takes the place of another thing, like the human body itself – has, here, something of the sinister atmosphere of an apparition in a dream: its uncanny position implies an inversion of conventional gravity, turning the gallery space into something unstable and treacherous. Like a boulder rumbling towards an unsuspecting cartoon character, Turner’s work makes light of physicality, its threats absurd, its implications darker, more troubling.

Text by Ben Street

ARTICLES

In Conversation Exposure 11 at Parasol Unit
13 September, by Elizabeth Homersham, Jotta.com

EH: How did paper pulp become the medium in your work?
RT: I experimented for a while but paper pulp felt like the right material for conveying the interests and notions at the heart of my work. As the pulp is devoid of colour and invites textural manipulation, all the focus can be on form and surface.
EH: They look so light too, endowed with a kind of buoyancy. For me that compliments your attempt to make viewers navigate the space differently, more 'buoyantly', perhaps. Has dance has influenced you at all?
RT: I really like that idea, not directly dance but definitely movement; the work becomes a form of choreography, asking the viewer to explore in a particular way.
EH: Until now your viewers have explored the gallery space. Will you one day ask them to step outside?
RT: I enjoy gallery installations at the moment but my next move might involve creating site-specific works responding to external architecture. I’m really interested, for example, in the architectural aspect of Monika Sosnowska, Richard Wilson and Rachel Whiteread’s work.
EH: But you also evoke other worldliness and astronomy.
RT: Right, I have a particular interest in the moon! I love the mystery that surrounds it.
EH: In those terms your sculptures appear more abstractly haunting than Whiteread’s.
RT: Yes, but what I like about Whiteread’s work is how she reveals things about space. In my own work I want to encourage the viewer to explore a given space personally.

Read the entire article
Source:jotta.com

A Knitted Blue Tit
September 2011, Stylist Magazine

Rebecca explores the relationship we share with the space around us, with particular interest in disrupting it. She creates large astronomical forms from pulped paper that are wedged, balanced, or awkwardly positioned within the architecture, playing with the idea of defying gravity or succumbing to it.

Read the entire article
Source:stylist.co.uk