DANIEL TURNER
KÖNIG LONDON
30 NOVEMBER 2018 – 5 JANUARY 2019
KÖNIG LONDON is pleased to present a solo exhibition by New York-based artist Daniel Turner.
Daniel Turner works primarily in sculpture often involving the manipulation of materials, objects, and environments into tactile or atmospheric forms. These works are characterized by a specific response to the site under a controlled set of processes. This approach has enabled Turner to base form on transposition, preserving a sensuous link to geographical location, cultural association, and human contact.
For the current exhibition, Turner has reduced select elements of an active psychiatric facility into a series of concentrated freestanding forms; transforming the substance of a public institution into calibrated mass. Composed of aluminum, fiber, and steel, each object’s cumulative history stands with an unsettling stillness—their surface bearing no trace of hand.
Turner’s choice of excavated material speaks to the phenomenology of the site, preserving an environment’s accumulative effects while transforming its formal constructs. As a group, the sculptures occupy a perceptive middle-ground, positioned on the brink of formalist abstraction and pure appropriative representation. The artist’s near invisibility in the works imbues them with stark neutrality — yet their effect is profoundly disquieting.
30 NOVEMBER 2018 – 5 JANUARY 2019
KÖNIG LONDON is pleased to present a solo exhibition by New York-based artist Daniel Turner.
Daniel Turner works primarily in sculpture often involving the manipulation of materials, objects, and environments into tactile or atmospheric forms. These works are characterized by a specific response to the site under a controlled set of processes. This approach has enabled Turner to base form on transposition, preserving a sensuous link to geographical location, cultural association, and human contact.
For the current exhibition, Turner has reduced select elements of an active psychiatric facility into a series of concentrated freestanding forms; transforming the substance of a public institution into calibrated mass. Composed of aluminum, fiber, and steel, each object’s cumulative history stands with an unsettling stillness—their surface bearing no trace of hand.
Turner’s choice of excavated material speaks to the phenomenology of the site, preserving an environment’s accumulative effects while transforming its formal constructs. As a group, the sculptures occupy a perceptive middle-ground, positioned on the brink of formalist abstraction and pure appropriative representation. The artist’s near invisibility in the works imbues them with stark neutrality — yet their effect is profoundly disquieting.