This essay will attempt to critically analyse the works of Roger Hiorns. It will look into the reasons behind his nomination for this year’s Turner Prize, the links between the artist’s previous works and the works he is making now. It will also look into the methods, techniques and materials he uses, and also his opinion of other artists and the works they are making and how his own works compare.
The exhibition for last year’s Turner pize was condemned by critics as being too intellectual . And that it felt didnt have the same impact as Damien Hirst’s shark or the infamous Tracey Emin’s unmade bed or indeed any of the other works that have made the Turner Prize a major topic for discussion overs the last decade or so Jones a jury member said: “Last year’s deal of brilliance in contemporary art and we have ended up with a shortlist which dazzles.”
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Deuchar, a jury member, reports that the meeting, that had lasted almost six hours before Their selection of the nominees “certainly did not begin with a postmortem on last year”. He went on to say the aim of the prize was “to bridge the gap between the world of contemporary art, which some people say is difficult, impenetrable and closed, and the wider world of public art appreciation and engagement”. Skaer was nominated for her sculpture, drawings, and films. Recent works including pieces referencing Brancusi, Hokusai and Leonardo. Wright was chosen for his paintings on walls that reflect the architecture he discovers there. Jonathan Jones, jury member and art critic, compared wrights “spiralling and fascinating” designs to Islamic tile art.
Hiorns was included in the nominations for the Turner Prize for his work entitled ‘Seizure’, a monumental commission given to him by Artangel and the Jerwood Foundation; it was also supported by the national lottery and Channel 4 television. The work was selected through the Jerwood/Artangel Open, an initiative for the arts. His instillation, built at Harper Road, London began as an empty council flat. The location was chosen because of its previous usage rather than its architectural nature. Once the building was ready he filled it with approximately ninety thousand litres of copper sulphate solution, his ambition. “Total crystallisation” “I’ve always liked the idea of inconsistency in my work, and to be able to obscure my responsibility for making aesthetic choices. When growing copper-sulphate crystals you never know what the result will be so it’s a way of passing that responsibility on and effectively taking myself out of the creative process. I’ve been working with copper-sulphate solution for ten years now, so this project is not only an escalation of that work, but also, perhaps, a logical conclusion.” To do this he had to pour this strange blue liquid through a hole made in the ceiling of the bedsit filling the space.
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