Nathan Coley

Turner Prize nominee revels in contradiction and camouflage

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This article is from 2007.

‘It’s a big sculpture talking about the invisibility of things, and I think that’s beautiful,’ says Nathan Coley. He is talking about his 2006 work ‘There Will Be No Miracles Here’, a six-metre high structure with the title phrase illuminated across scaffolding in glittering showtime lights. It was one of the works that led to his Turner Prize nomination, and will (partially, at least) be one of the pieces in his upcoming show. Coley (who will be delivering a talk at doggerfisher gallery on 11 Aug, 4pm) will also be creating one of his ‘camouflage’ sculptures, an architecturally governed model seemingly wrapped in optically confusing stripes. They’re not so much about invisibility, but rather spatial uncertainty.

Interestingly, another new work will be a much less conspicuous structure. A door-width sized oak joist will act as the manifestation of a threshold, separating the heaving outdoor Festival from the sanctuary of the gallery. ‘I like the idea that we have to deal with objects and in this case you have to step or trip over it.’ Large objects that whisper about invisibility, small objects that yell about their substantiality. ‘Contradiction is quite exciting to me.’ (Claire Mitchell)

doggerfisher, Gayfield Square, 0131 558 7110, 27 Jul–15 Sep, free.

This article is from 2007.

Nathan Coley

  • 3 stars

New set of installations from the Turner-shortlisted artist. The aesthetic is deliberately botched DIY, which feels somewhat disengaging, and while this exhibition continues Coley's fascination with the way religion imprints on cities, the cheeky irrereverence of his previous takes on the subject is sadly absent.

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