Why Is London’s Creative Talent—and the Turner Prize—Decamping to Glasgow?
Image rights: Courtesy Galerie Eva Presenhuber, Zurich Photo: Stefan Altenburger Photography, Zurich
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