Why Is London’s Creative Talent—and the Turner Prize—Decamping to Glasgow?
Winner of the Turner Prize in 2011, sculptor Martin Boyce makes explicit references to the masters of Modernist design and sculpture, in particular Alexander Calder, the Martel twins, Jean Prouvé, and Charles and Ray Eames. He attributes much of this interest to his formative years spent studying at Cal Arts.
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Image rights: Image courtesy of the Artist, Tanya Bonakdar Gallery, New York and The Modern Institute/Toby Webster Ltd, Glasgow Photo: Ruth Clark
Turner Prize winner Martin Boyce says that his work “is all about landscape” and the “collapse of nature and architecture.” In particular, he’s interested in the psychological experience of space, abandoned or abject terrains, and the material manifestations of time. The multimedia installation artist and sculptor borrows the forms of objects found in quotidian indoor and outdoor settings, such as wire gates, lights, trees, benches, tables, and trash bins. Boyce then reduces, skews, and abstracts these shapes such that they feel familiar but are not immediately recognizable. Recurring motifs include wire fences, glyph-like shapes, and alternating use of flowing curves or angular geometry. Since 2005, Boyce has been reworking the image of the famous abstract, cast concrete trees by sculptors Jan and Joel Martel. In tandem with his installations, Boyce has cultivated an immense archive of photographic works detailing images that inform his practice.
Scottish, b. 1967, Glasgow, United Kingdom, based in Glasgow, United Kingdom