Helen Elizabeth Marten (born 1985 in Macclesfield)[1] is an English artist based in London who works in sculpture, video, and installation art.
Helen has used handmade and found objects within her work, including cotton buds, coins, shoe soles, limes, marbles, eggs and snooker chalk.
[9] Similarly, after winning the Turner Prize the following month the BBC reported that she had told it that she also planned to share it "but felt she could only make such a public proclamation once", and quoted her as saying: "This is something that can happen much more discreetly between the four of us".
[12] They consisted of: Lunar Nibs (a sculpture resembling a house, a dumpster and even a feeding trough for cattle, whose main facade looked like a caricatured nineteenth-century residence), On aerial greens (haymakers), (a wall- and floor-based pairing formally resembling a fireplace or hearth) and Brood and Bitter Pass (a large-scale work composed of spun aluminium forms, wooden ellipsoids, ceramic parts and mechanical joints in a worm-like form).
[13] Writing about her year-long touring exhibition, Almost the exact shape of Florida at Kunsthalle Zürich, Plank Salad at Chisenhale Gallery in London (2012) and No borders in a wok that can't be crossed at the Center for Curatorial Studies at Bard College (2013), the curators of the three exhibitions called them "one of the most fertile, and one might say febrile, artistic productions of our time, cannily utilizing the potential of both the analogue and digital to make sculptures, videos, and installations that collapse traditional forms and boundaries of matter, language, and meaning".
[14] Jörg Heiser has written of her work: "Marten treats physical stuff the digital way: she drags and drops, compresses and unpacks, crashes and reboots.
"[17] Marten's work is in the collections of Astrup Fearnley Museum of Modern Art, Oslo, Norway, and Fondazione Sandretto Re Rebaudengo, Torino, Italy.