Echoes of Industry: The Art of Transformation in Daniel Turner’s Hauser & Wirth Debut
Introduction to the Exhibition
For his debut with Hauser & Wirth, New York-based artist Daniel Turner presents an exhibition that represents a unique journey through the reclamation and transformation of materials extracted from the Mandalay Generating Station, a decommissioned power plant located 60 miles northwest of downtown Los Angeles. This 2024 exhibition marks a significant milestone in Turner’s career, signifying a turning point in his artistic approach and interaction with the public.
Born in Portsmouth, VA, in 1983, Daniel Turner has built his reputation through the creation of sculptures that manipulate materials, objects, and environments into tactile or atmospheric forms. His artistic practice is characterized by an approach that emphasizes the transposition of forms and materials, preserving a sensory connection to geographical locations, cultural associations, and human contact. This approach is evident in his previous works, where he transformed entire environments like waiting rooms, psychiatric facilities, and cafeterias into evocative and transformative installations.
The exhibition at Hauser & Wirth perfectly synthesizes Turner’s artistic philosophy. Using materials salvaged from the Mandalay Generating Station, a facility that provided electricity to the Southern California region until its closure in 2017, Turner explores the theme of transformation and recycling of industrial materials. The plant, operational since the mid-20th century and managed by Southern California Edison, was a significant example of natural gas-powered thermoelectric generation. The decommissioning process left behind a wealth of materials that Turner has skillfully repurposed to create a series of paintings, drawings, sculptures, and films.
The artist chose to focus on materials extracted from the plant, such as copper elements used in thermoelectric power generation. Once removed from the Oxnard site, these components were intricately milled into refined copper wools. This wool was then meticulously burnished onto the surfaces of canvases, creating achromatic veils that characterize his paintings. Through this process, Turner not only transforms the materials but also gives them new life and meaning, highlighting the hidden artistic potential in industrial infrastructure.
The exhibition offers a profound reflection on the relationship between technology, time, and perception. Turner’s works, created from materials that were once vital to the operation of the power plant, now invite viewers to consider the passage of time and technological evolution. This exhibition is not just a celebration of artistic transformation but also a tribute to industrial history and the power of art to breathe new life into what has been abandoned.
Daniel Turner’s exhibition at Hauser & Wirth is a testament to his unique ability to transform the remnants of industrial structures into compelling works of art. The centerpiece of this transformation is the Mandalay Generating Station, a decommissioned power plant whose materials have been repurposed into a diverse array of artistic forms. This chapter delves into the meticulous process Turner employed to reclaim, recontextualize, and reimagine these materials.The journey begins with the extraction of materials from the Mandalay Generating Station, a facility that once played a crucial role in supplying electricity to Southern California. The power plant, operational from the mid-20th century until its closure in 2017, was a hub of natural gas-powered thermoelectric generation. The decommissioning of this plant left behind a trove of industrial materials, including copper elements and structural components, which Turner saw as raw material for his artistic endeavors.
Turner’s approach to these materials is driven by a deep understanding of their historical and functional significance. He meticulously selects elements that bear the weight of the plant’s operational history, ensuring that each piece he works with is imbued with a sense of place and time. This selection process is the first step in a journey that transforms industrial detritus into refined art.
Once selected, the materials undergo a rigorous process of milling and refinement. Turner employs intricate milling techniques to transform bulky copper elements into fine copper wools. This process is both technical and labor-intensive, requiring precision and an intimate knowledge of metallurgical properties. The resulting copper wools are delicate yet robust, embodying the duality of strength and fragility.
The transformation from raw copper elements to refined wools is a key aspect of Turner’s practice. It is through this process that he distills the essence of the materials, stripping away their industrial connotations and revealing their inherent beauty. This phase of the process exemplifies Turner’s belief in the potential of materials to transcend their original purpose and assume new roles within the artistic context.
With the copper wools ready, Turner moves on to the next phase: burnishing these materials onto canvas surfaces. This process is meticulous and methodical, involving the careful application of the copper wools onto prepared canvases. The act of burnishing is both physical and meditative, requiring Turner to engage fully with the materials. The result of this process is a series of canvases characterized by achromatic veils of copper. These veils are not merely decorative; they are the result of a deliberate interaction between material and surface, creating a nuanced interplay of light and texture. The burnished surfaces invite viewers to explore the subtle variations and intricate details that emerge from this meticulous process. Beyond the canvases, Turner extends his transformative practice to the realm of sculpture. One of the standout pieces in the exhibition is ‘Channel Conduit’ (2024), a sculpture composed of coiled materials stripped from the power plant’s infrastructure. These materials, once used to facilitate the induction of seawater for temperature regulation, are reconfigured into a new form that invites perceptual consideration. The sculpture’s coiled arrangement highlights the material’s flexibility and resilience, while its surface textures illuminate the metallurgical compositions that were vital to the plant’s operation. In isolating and recomposing these objects, Turner encourages viewers to reflect on the relationship between technology and temporality, and to consider the invisible elements that shape our immediate consciousness. In addition to the physical transformation of materials, Turner incorporates archival elements into the exhibition. A series of vitrines display schematics, found archival materials, and small-scale sculptures, providing a tangible connection to the power plant’s history. These archival elements serve as a bridge between the past and the present, contextualizing Turner’s work within the broader narrative of industrial and technological evolution.
The vitrines offer viewers a glimpse into the data collection, system processes, and procedures that underpinned the functionality of the decommissioned site. By integrating these elements into his exhibition, Turner creates a multi-layered experience that combines physical transformation with historical reflection.
One of the standout aspects of Turner’s exhibition is the diversity of media and the meticulous process behind each piece. His paintings, crafted by burnishing refined copper wool onto canvases, create achromatic veils that capture subtle variations in texture and light. These veils are more than just visual effects; they embody a tactile memory of the materials’ industrial origins, inviting viewers to explore the nuances of Turner’s transformation process.
For instance, “Oxnard Burnish” (2024), a large-scale painting on canvas, features copper, lanolin, and gesso, all materials sourced from the power plant. The burnishing technique Turner uses results in a surface that is both haunting and evocative, a testament to the plant’s history and the artist’s innovative approach.
Turner’s sculptures, such as “Channel Conduit” (2024), consist of coiled materials stripped from the plant’s infrastructure. This particular piece repurposes components originally used to regulate seawater induction, transforming them into conduits for perceptual reflection. The sculpture’s intricate surface textures highlight the metallurgical compositions that were once vital to the plant’s operations, now serving as a focal point for aesthetic and historical contemplation.
Complementing the larger works are a series of vitrines that contain schematics, found archival materials, and small-scale sculptures. These vitrines provide a traceable lineage of the data collection and system processes fundamental to the power plant’s functionality. By integrating these archival elements, Turner not only preserves the historical context of the materials but also enhances the narrative of transformation and reclamation that runs throughout the exhibition.
For example, archival images and documents from the Mandalay Generating Station are displayed alongside smaller sculptures made from the same materials, creating a dialogue between the past and the present. This juxtaposition allows viewers to appreciate the meticulous care Turner takes in selecting and recontextualizing these industrial remnants.
Another highlight of the exhibition is Turner’s latest film, “Oxnard Harbor” (2024). This film features aerial footage captured via drone, offering a bird’s-eye view of the vacated generating station set against the dramatic backdrop of the Pacific Ocean. The film not only documents the physical space but also evokes a sense of the plant’s once-substantial role in the region’s energy production. The sweeping aerial shots and the serene, almost haunting, visual narrative provide a stark contrast to the static, tactile nature of Turner’s physical works, adding a dynamic layer to the exhibition.
Turner’s work can be seen in the context of other contemporary artists who explore themes of industrial transformation and material memory. His use of copper and steel, combined with his burnishing and milling techniques, sets him apart as an artist deeply engaged with the physicality of his materials and their histories. This approach is reminiscent of the work of artists like Lawrence Weiner and Steven Parrino, who also manipulate industrial materials to create powerful visual statements.
The Artist’s Language: Context and Reflection
Daniel Turner’s work is deeply rooted in a philosophy that emphasizes the intrinsic connection between materials and their historical, psychological, and emotional contexts. This chapter delves into Turner’s artistic vision, his reflections on the relationship between technology, temporality, and perception, and the broader impact of his work on contemporary art.
Turner’s approach to art is characterized by a meticulous engagement with materials and a profound understanding of their histories. His philosophy revolves around the idea that physical objects are not merely inert but are imbued with the emotional, psychological, and historical contexts of their previous uses. This belief drives his practice of reclaiming and transforming industrial materials, such as those from the Mandalay Generating Station, into evocative works of art.
In interviews, Turner has often discussed his fascination with the materiality of objects and their ability to convey complex narratives. He believes that by altering these materials, he can reveal hidden stories and emotions. This process of transformation is akin to an alchemical practice, where the artist acts as both a creator and a historian, unearthing the latent potential within discarded industrial remnants.
Technology, Temporality, and Perception
Turner’s works often prompt viewers to reflect on the intersection of technology, time, and perception. By using materials that once served critical functions in industrial settings, Turner highlights the temporal journey of these objects. For example, the copper elements used in his paintings and sculptures were integral to the operation of the Mandalay Generating Station. Now, recontextualized in an art gallery, they invite contemplation on the passage of time and the evolution of technology.
This temporal aspect is further emphasized in Turner’s film “Oxnard Harbor” (2024), which captures the abandoned power plant through aerial footage. The film juxtaposes the stillness of the decommissioned facility with the dynamic movements of the drone, creating a visual narrative that underscores the plant’s historical significance and its present state of disuse. This reflection on temporality encourages viewers to consider the broader implications of technological advancements and obsolescence.
Turner’s innovative use of industrial materials and his focus on their historical contexts have positioned him as a significant figure in contemporary art. His works challenge conventional notions of sculpture and painting, blurring the lines between different media and creating new forms of expression. By transforming everyday industrial objects into art, Turner not only redefines their aesthetic value but also prompts viewers to engage with their historical and emotional resonances.
Critics and audiences alike have praised Turner for his ability to evoke powerful responses through his work. His pieces are often described as haunting and evocative, with a unique ability to capture the essence of the materials he uses. This has earned him recognition and inclusion in prestigious exhibitions and collections worldwide, including institutions such as the Centre Pompidou and the Musée d’art Moderne de la ville de Paris.
Turner’s exhibitions are designed to be immersive experiences, encouraging viewers to interact with the works on multiple levels. The tactile quality of his sculptures, the intricate details of his paintings, and the contextual depth provided by archival materials all contribute to a rich sensory and intellectual experience. Turner believes that this engagement is crucial for fully appreciating the layers of meaning embedded in his works.
In interviews, Turner has expressed his hope that viewers will not only see the beauty in the transformed materials but also reflect on the broader themes of memory, history, and transformation. He aims to create a dialogue between the past and the present, using art as a medium to explore the continuity and change inherent in the objects and environments we encounter .
In conclusion, Daniel Turner’s work is a profound exploration of the connections between materials, history, and perception. His innovative approach to reclaiming and transforming industrial remnants challenges traditional art forms and invites viewers to engage deeply with the stories and emotions these materials carry. Turner’s debut solo exhibition at Hauser & Wirth is a testament to his unique vision and his significant impact on the contemporary art landscape.
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Daniel Turner has participated in numerous institutional exhibitions including; Kunsthalle Basel, The Chinati Foundation, Palais de Tokyo, The Pinchuk Art Center, Kunstmuseum Krefeld, Museen Haus Esters und Haus Lange, Musée des Arts Contemporains Grand Hornu, The Musée d’art Moderne de la ville de Paris, Muzeul de Arta Cluj-Napoca, The Centre for Contemporary Art Ujazdowski Castle and The Maria Leuff Foundation. Turner’s works are held in private and public collections including; SMAK Ghent, Kunstmuseum Basel, Centre Pompidou, le FRAC Bretagne, Musée d’art Moderne de la ville de Paris, ICA Miami, Musée des Arts Contemporains Grand Hornu amongst others.
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