In Turner’s new work, largely produced within the last six months, a conversation between disparate forces: austerity and vulnerability, weight and flight, structures and unruliness is considered. This body of work evolved from a dual interest in Brutalist Architecture and the biology/behavior of moths. An architectural dialogue, as told by materials like concrete and insulation emerges with a boundless energy in moments throughout the exhibition, but with with questions of fragility and meekness- a leather hide grid drawn in space drapes onto a concrete substrate; a pair of cups composed of concrete and lined with cherry-red bedsheet fragments; charred wood vessels with textiles suspended in decomposition.
Turner considers formal relationships of domestic spaces with a gendered history of hierarchy, challenging and exploding this binary facade: the rigidity of the grids and the potential fullness of the vessel depend on each other. Only when the grids melt into limp linear systems can the cups realize their potential to transgress their vesselness.
Cups and grids emerge and fade, and become each other through the work that Turner presents on the walls and in space.
