Rebecca Warren has been nominated for her exuberant sculptural installations as seen in her solo exhibitions at Matthew Marks Gallery, New York, and Galerie Daniel Buchholz, Cologne, and for her contribution to the Tate Triennial 2006. Her works combine a wide range of source with a strong formal awareness, injecting conventional materials with a sensual physicality to create something wholly new.

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  • Rebecca Warren Turner Prize Installation 2006

    Rebecca Warren, Turner Prize installation 2006

    Photo: Sam Drake and Mark Heathcote 
    © Tate 2006

  • Rebecca Warren Turner Prize Installation 2006

    Rebecca Warren, Turner Prize installation 2006

    Photo: Sam Drake and Mark Heathcote 
    © Tate 2006

  • Rebecca Warren Loulou 2006

    Rebecca Warren
    Loulou 2006
    Reinforced clay, acrylic paint
    Approx 40 x 19 x 21

    Courtesy Matthew Marks Gallery, New York and Maureen Paley, London
    © the artist

  • Rebecca Warren 2001, 2002, 2003, 2004 or 2005 2006

    Rebecca Warren
    2001, 2002, 2003, 2004 or 2005 2006
    Mixed media
    28.6 x 137.8 x 42.5 cm

    Courtesy Maureen Paley, London
    © the artist

  • Rebecca Warren Donald Young, Installation view

    Rebecca Warren
    Donald Young, installation view

    Courtesy of the artist, Donald Young and Maureen Paley

  • Photograph of Rebecca Warren

    Rebecca Warren

Rebecca Warren’s work

Rebecca Warren positions herself within the lineage of a sculptural tradition. She re-works and intentionally misappropriates existing images by the accepted masters of figurative sculpture, including Degas, Picasso and Rodin, as well as drawing on more contemporary artists such as R. Crumb and Helmut Newton. Warren pays homage to her heroes while gently questioning their authority.

Warren’s unfired clay sculptures project a sense of unleashed creativity, appearing to explode out of and merge back into the amorphous properties of the material.

In contrast, her wall-based vitrines, containing various detritus collected in and around the studio, have none of the clay works’ rough-hewn vitality. Each object is carefully assembled to draw out its particular emotional and associative resonances, elevating discarded leftovers to the status of art object while flouting conventional hierarchies of display.

In her new series of bronze works Warren further explores the degradation of established form. After receiving the clay originals back from the foundry, bashed and misshapen from the casting process, Warren revised and added to them before returning them for recasting. Repetitions can be detected between works as well as traces of rubber from their extraction from the moulds, thus showing disregard for the traditional connotations of the material.

Ideas of self-expression, gender and the nature and purpose of sculptural form converge in Warren’s work. However, she adopts a deliberately precarious stance, reinforcing a slippage of meaning through her hybrid titles which incorporate references to films, songs and made-up words, which mirror the varied forms of her work.