Roger Hiorns

[2] Hiorns makes work, based around a progressive idea of pushing forward and deviating from the established traditions of sculpture.

Hiorns represents a generation that has been strongly influenced by conceptual approaches but that is also more engaged in taking a stand against the changing nature of authority and power structures in today's Euro-American civilisation, including the related societal schisms.

Hiorns proposes that a way of escaping into the real world, by revealing the true state of things and by breaking through the shell forced on us by society and convention can be enacted upon by the 'Insulting' of objects and applied authority.

Detergent foam bubbles produced by compressors; cold sheets of latex rubber alongside BBC programs on medical ethics; pure alcohol burning in cotton wool alongside a naked youth; mechanical parts ground to dust; the brain tissues of animals smeared on fibreglass; semen wiped over the surface of light bulbs, a light filter to claim a territory.

Fictional scenarios are made real, fire emerges from storm drains, perfume permeates metal surfaces, and crystals colonise industrial objects, naked youths contemplate fire, a clear plastic object becomes the focus of prayer, a boys' choir play dead, a proposal to bury a passenger jet plane.

In 2008 he created a sculpture and installation in South London where he materially claimed an entire ex-council flat, growing within it an industrialised scale of copper sulphate crystals.

Seventy-five thousand litres of solution were pumped into the waterproofed council flat to create a crystalline growth on the walls, floor, ceiling and bath of this abandoned dwelling.

[3] Described as a 'Cult hit'[4] and 'destined to be remembered as one of the truly worthwhile and significant moments of modern British art'[5] by The Guardian, the project was called Seizure and was produced by Artangel.

72–73 2013 Massimiliano Gioni, "Il Palazzo Enciclopedico", Fondazione La Biennale di Venezia Hans Ulrich Obrist, "DO IT, The Compendium", Independent Curators International, New York, p. 208 2012 Hans Ulrich Obrist and Rem Koolhaas, "London Dialogues: Serpentine Gallery 24-Hour Interview Marathon", Skira Editore, Milan, pp.

40–41 Hossein Amirsadeghi, "Sanctuary: Britain’s Artists and their Studios", Thames and Hudson, London 2011 Peter Eleey, "September 11", MoMA PS1, pp.

48–53, 114 Lisa Le Feuvre and Tom Morton, "British Art Show 7: In the Days of the Comet", Hayward Publishing, London, pp.