The Hayward Gallery show you've reconstructed the deliverance and the patience but to what extent is it a reconstruction in terms of how mimetic if you like is it to that installation in Venice. In regard to sort of layout it's pretty much exactly the same even though I would say that we had no plans because I've got my drawings in the notebooks which were transferred into early computer drawings. The only difference I would say was the missing corridor but also I decided to build it as an object because how do you make it somehow look as if it's has some sort of pertinent to where it once was so this time I reimagined it back in a slightly heavier gauge of reclaimed 4x2
Ben Luke talks to Mike Nelson about his influences—from the worlds of literature, film, music and, of course, art—and the cultural experiences that have shaped his life and work. Nelson, born in 1967 in Loughborough in the UK, is one of the most significant British sculptors and installation artists of this century. He has spent the past three decades assembling materials gathered in junkyards, flea markets, online auctions, even street-corner fly tips into often labyrinthine sculptural environments. He creates distinctive spaces that suggest fictional (and often science-fictional) narratives, while alluding to diverse histories, obscure countercultural or political movements and current affairs as well as his own biography. He discusses the early influence of Graham Sutherland and Francis Bacon, his elation at discovering the work of Paul Thek, how fiction—and science-fiction writers like Stanislaw Lem, J.G. Ballard and the Strugatsky brothers—liberated his approach to art making, and the enduring influence of film-makers including Jean-Luc Godard and Sergei Parajanov.
Mike Nelson: Extinction Beckons, Hayward Gallery, London, until 7 May.
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