ARTIST:

Terence Koh

Download Artist’s CV

Terence Koh
Untitled (Medusa),

19x42x18

Terence Koh
These Decades that We Never Sleep, Black Drums, 2004
Drum kit, paint, ropes from a ship found after midnight, black wax, plaster, vegetable matter, crushed insect parts, artist`s blood and cum
Stool, 50 x 30cm <br> 100 x 163 x 100cm

Terrence Koh’s sculptures are born of queer youth culture and luxurious decadence. Exuding a magnetic sensuality, These Decades that We Never Sleep, Black Drums is an object of obsession, its ebony coils trailing with enticement, visually echoing waves of noise. Luring with its swarthy depths, …Black Drums creates a suggestive void: of memory and fantasy, drawing connotations of art history, gothic subculture, and fetish gear. Using raw materials of cloth, metal, and plaster, Koh’s sculpture beacons with tactility, mirroring yearning and loss as physical desire.

Terence Koh
These Decades that We Never Sleep, Black Light, 2004
Crystal chandelier, paint, lollipops, vegetable matter, human and horse hair, mineral oil, rope from a ship found after midnight, glass shards, stones and artist`s blood and shit
190 x 72 cm

Taking the form of a boudoir chandelier, Terrence Koh’s These Decades that We Never Sleep, Black Light hangs with a tempting anticipation; its heavy weight dangles, both dangerous and beguiling, dripping opulent crystals and bijou. Rather than illuminating, the sculpture’s deadened black surface promises to devour. Flirting between pleasure and pain, lust and death, Koh offers a dark romanticism, filled with apprehension and possibility.

Terence Koh
Big White Cock, 2006
Sculpture, white neon, wires
132.1 x 121.9 cm

Crowing with early-hour neon glory, Terrence Koh’s Big White Cock is everything its title suggests! Illuminating with greasy innuendos of back-alley sex shops and mega-bucket chicken shacks, Koh’s electric sign pulsates as a high-design icon glamorising the art of slumming it. Addressing issues of race, gender, and sexuality, Koh turns the coded language of sub-culture into a fetishised logo of duplicity. In sexual terms a ‘chicken’ may be a gay teen or Chinese prostitute, but sometimes a cock is just a rooster!

Terence Koh
Untitled (Medusa), 2006
Mixed media sculpture, wood, paint, plaster, urinal, steel, porcelain, mirror, glue, bonding paste, ashes, oil, burnt wood, light, wiring and artists piss
235 x 107 x 107 cm

Standing as a white cube within the white cube of the gallery, Terence Koh’s Medusa has the outward appearance of polished respectability. Through the door of his structure, however, it is revealed as a WC of iniquity, a literal closeting of desire. Decked out in dirty black, with rows of phallus-laden religious icons, and satanic plumbing fixtures, Koh’s toilet stall is both urinal and confessional, a smutty cupboard where seduction and transcendence are gleefully indulged.

Terence Koh
Crackhead, 2006
Mixed media - 222 heads of plaster, paint, wax, fire, charcoal, inside 22 glass vitrines, UV glue, paint, fingerprints, some vitrines with breaks and/or cracks
Dimensions vary with installation: sizes per vitrine vary from 60 x 35x 35 cm (largest), 50 x 30 x 32 cm (medium), 33 x 23 x 23 cm (smallest)

Terence Koh
Untitled (Vitrines 5 - Secret Secrets), 2006
Mixed media sculpture
Dimensions vary with installation

Terence Koh
The Camel was God, the Camel was Shot, 2007
Cast of artist's body, bronze and white patina
22 x 179 x 55 cm

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Thursday, 26 November 2020: COVID-19 / CORONAVIRUS UPDATE:

Following the UK Government’s latest announcement placing London in Tier 2, Saatchi Gallery will re-open from Wednesday, 9 December 2020. We will re-open with our free entry Ground Floor exhibitions (Philip Colbert: Lobsteropolis and Antisocial Isolation) from December 9. The new dates for our next headline exhibition JR: Chronicles will be announced shortly.

Government guidelines on health and safety measures will remain in effect, including social distancing within a one-way system in our galleries, the provision of hand sanitising stations, and the wearing of face coverings by visitors and staff. All visitors are encouraged to pre-book their tickets prior to entry.

We look forward to welcoming you back soon.