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Roger Hiorns

United Kingdom

Nacionalidad: United Kingdom Detalles: 1975, Birmingham, UK Vive y trabaja: London, UK

Biografía

Roger Hiorns, born in Birmingham, England, in 1975, is a British contemporary artist whose practice encompasses sculpture, installation, video and photography. He studied at Solihull College of Art and Design before attending Goldsmiths, University of London, where he developed the conceptual approach to materials and processes that has become central to his work. Based in London, Hiorns is best known for transforming everyday, organic and industrial materials through physical and chemical processes. One of his most celebrated works is Seizure (2008), for which he flooded an abandoned council flat in south London with 75,000 litres of copper sulphate solution, covering its interior with blue crystals. The installation attracted international attention and contributed to his nomination for the 2009 Turner Prize. Throughout his career, Hiorns has investigated the physical, chemical and perceptual properties of materials, challenging conventional ideas of sculpture and highlighting the transformative potential of processes such as crystallisation, oxidation and decay. His works often allow chemical reactions, organic matter or other unstable elements to reshape familiar objects and architectural spaces. Frequently site-responsive, they explore the tension between artistic control and the unpredictable behaviour of materials. Hiorns has exhibited internationally at institutions including Tate Britain in London, the Hammer Museum in Los Angeles and the Walker Art Center in Minneapolis. His work was also included in the 2013 Venice Biennale. Through these and other presentations, he has established a distinctive practice that expands conventional understandings of materiality, transformation and spatial experience. Hiorns continues to investigate the relationships among materials, space and perception, producing works that combine visual immediacy with conceptual rigour. His practice invites viewers to reconsider the stability of objects and the extent to which an artist can—or cannot—control the processes through which an artwork takes form.

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