Selected works by Roger Hiorns

Roger Hiorns
Leaning Chartres With Cobalt And Copper Crystals

1996

Card construction with cobalt and copper chemical growth. Mounted on glass and wood trestle table with perspex cover underlit by two strip light

137 x 125 x 65 cm
Roger Hiorns’ sculptural practice meditates on the act of artistic creation, observing what happens when the process is handed over to reactive, “living” material and its metamorphoses. Copper Sulphate Chartres and Copper Sulphate Notre-Dame and Leaning Chartres With Cobalt and Copper Crystals, both from his Goldsmiths degree show in 1996, as well as his more recent large-scale installation ‘Seizure’, highlight his apparently no-hands method: a chemical solution is allowed to precipitate and take over an existing object or space, and a found form and its meaning is transformed, as if by self-design. The way crystal formations shape themselves on these cardboard models creates a living sculpture, reminiscent of creeping ivy on statues, of historical ruin; it also undoubtedly recalls the slow-forming processes of geology, suggesting a latent constant potential for material transformation.
Roger Hiorns
Untitled

2010

Polyurethane, polyester and brain matter

Two parts:142.2 x 152.4 x 30.5 cm/ 180.3 x 106.7 x 28 cm
Many of Hiorns’ three-dimensional projects yield to the autonomous generative properties of his chosen substance (crystallising fluid, detergent foam, fire) to ‘isolate’ objects, to make us conscious of their origins and their contexts. His diptych Untitled (2010) combines ordinary and esoteric materials – polyurethane, polyester and brain matter – to explore transparency as a sculptural property.
“We’re surrounded by codified practices consistently imposed on us by dominant objects. We’re under a narrow coercion from the objects that we design for ourselves. Of course, this question is strikingly obvious: Are we a balanced society? Can we retool our objects, perhaps? What would that involve, and is it possible to transgress the continuous production of next-generation objects, to insert transgressive stimulus, the cross of semen and the light bulb, for example? To retool, simply to ask: Do we live in a society where we make objects towards the darker side of our psyche? Is it useful to continue this procedure even further, with more necessity and speed?"
Roger Hiorns
Copper Sulphate Chartres & Copper Sulphate Notre-Dame

1996

Card constructions with copper sulphate chemical growth; mounted on glass and wood trestle table with Perspex cover underlit by two strip lights

137 x 125 x 65 cm

Hiorns’ inconsistent sculptural practice rebels against the idea of unquestioned limitation in art and, by extension, calls for a liberation of the assumed status quo on a broader sphere.


Other Resources

artnet.com
Various and images – Roger Hiorns

artfacts.net
Additional information and images – Roger Hiorns

corvimora.com
Corvi Mora gallery, London – representing gallery for Roger Hiorns

marcfoxx.com
Marc Foxx, LA – representing gallery for Roger Hiorns

tate.org.uk
Roger Hiorns – Turner Prize nominee 2009

artangel.org.uk
British artist Roger Hiorns uses unusual materials to effect surprising transformations on found objects and urban situations. Fire emerges from storm drains, perfume permeates metal surfaces, and copper sulphate crystals colonise industrial objects.
SEIZURE was Hiorns’ most ambitious work to date and his first major sculptural project within an urban site, and it marked a radical shift in scale and context in his work. The artist encouraged the growth of an unexpected crystal form within a low-rise late-modernist development near the Elephant & Castle in south London.

shapeandcolour.wordpress.com
In his latest installation, “Seizure”, British artist Roger Hiorns has turned the idea of sculpture inside out. Rather than present a sculpture inside an architectural space, he’s turned every surface of the architectural space into sculpture.