Roger Hiorns

Roger Hiorns 1975

Lives in London, UK. Works in London, UK.
Represented by:

Annet Gelink Gallery

Roger Hiorns investigates material and form in the broadest sense. Strong opposites coexist, generating a tension between creation and collapse, the permanent and the ephemeral, the organic and the mechanic through processes in which he himself has often no influence on the eventual appearance of the work.

Market position


The Limits of an Object: Roger Hiorns - Presented on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”
Artist Roger Hiorns talks about the key themes and ideas behind his work. Produced for his exhibition at Ikon Gallery, Birmingham (7 December 2016 - 5 March 2017).
ArtAngel: A video documenting Roger Hiorns 'Seizure', London, United Kingdom September 2008
The Limits of an Object: Roger Hiorns - Presented on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”


Vliegtuig onder de grond
'Dit toestel op Groot Bentveld is het eerste dat je kunt betreden, en omdat het op priveterrein ligt, is de kans groot dat het hier nog heel lang kan blijven liggen. Darmee wordt het een tijdscapsule, een ruimte uit het verleden waarin de tijd voor eeuwig stilstaat, maar ook een ruimte waarin je aan het heden kunt ontsnappen. ... Hoe groot de kracht van het werk is, blijkt pas als we weer boven komen, in de tuin van Groot Bentveld. Het licht is ineens ongebruikelijk fel en de kleuren lijken frisser dan normaal - alsof we uit de dood zijn opgestaan. Een vliegtuig, begraven in een tuin. We koesteren de zon op ons gezicht. Roger Hiorns kijkt tevreden om zich heen.
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NRC Handelsblad
Roger Hiorns; Lucy Raven: Edge of Tomorrow – review
Ikon Gallery, Birmingham; Serpentine Gallery, London Art comes second to ideas in Roger Hiorns’s exploration of man, machine and mortality – and in the stop-start animations of Lucy Raven There is a strong smell of detergent in the opening room of Roger Hiorns’s new show. It couldn’t be less appropriate, or so it first seems. For the immediate spectacle is a grim gathering of anthropomorphic bodies, old and decaying, dangling by tubes from the ceiling. Carburettors, silicone jerry cans, plastic drains and rusty engine parts, each has some semblance of a head and spine. They look like invalids on drips, like gas masks attached to collapsing bodies, or disease-engorged organs. They look like death itself. Or perhaps like near-death, for a constant spume of detergent froths from every hinge and crevice, slowly burgeoning and then pooling on the floor, like spittle or some nameless body fluid. And this detergent emits a pungent hospital smell. The mechanical world is slowly dying, despite the hygiene. Even the hospital equipment is on the way out: an x-ray machine lies defunct on the floor. Playing in the air is an episode of Radio 4’s Inside the Ethics Committee, concerning a terminally ill patient named Mr Khan, who has been in intensive care for months. His family want to keep him alive. But is a body sustained entirely by machines any longer a life? That’s the radio debate. So now the conflation of machines with human beings becomes more sharply pertinent, and the froth appears innocent, ephemeral, perhaps even tragic. Roger Hiorns, born in Birmingham in 1975, is best known for a single work: Seizure, in which he spread 75,000 litres of copper sulphate through a condemned London council flat to create a twinkling blue grotto that would gradually fade to dead crystals. (Shortlisted for the 2009 Turner prize, it has since been revived at Yorkshire Sculpture Park.) The Ikon Gallery has a panel of the stuff, for anyone who missed it – a bluer than cobalt blue glittering almost to blindness. Seizure was exquisite and toxic, spectacular but short-lived; and this is the Hiorns matrix. Everything beautiful will die. Particularly if good men stand by and do nothing. One theme of this Ikon show is the brutality of diseases, specifically vCJD, otherwise trivialised as “mad cow disease”. Scientists talk about it on film. Brain matter (whose? how?) is mixed into several works – you can’t see it, you only know it is there, along with other rogue materials including antidepressants, because the captions tell you. A devastating poster issued during the outbreak appeals for justice for the victims. This irresistibly brings to mind the fatal flippancy of the then agriculture minister John Gummer feeding his daughter a beefburger in 1990 to “prove” there was no threat. A yet more startling item in Hiorns’s list of materials is “Youth”, by which he means the succession of young male life models who appear nude, at certain times, throughout his show. One sits astride a military jet engine: warm flesh, cold death being the obvious conceit. Another reclines on a carpet of dust, which turns out to be the ground granite of a church altar (where would Hiorns be without those captions?) And while we’re thinking of churches – or not, if you missed that caption – a film in the next gallery shows choral evensong at Birmingham Cathedral very simply adjusted so that the young are once again fallen. Young choristers lie singing upon the floor like renaissance effigies of the dead – indeed they are performing William Byrd. It is briefly arresting but completely preposterous. So everything speaks to something else in this show; everything leaks or interconnects. It is one way to muster a momentum otherwise lacking. Hiorns talks about the importance of moods and behaviours, of bringing the viewer directly into his art, of insulting the objects of domination (jet engines: pure JG Ballard). But his talk is oblique, his work peculiarly variable. Two lifesize male dummies, for instance, dangle from magnets on a wall. At certain moments, these figures are released to drop abruptly to the ground. This is outright melodrama, liable to induce nervous laughter. But one dummy is stuffed with a copy of Martin Heidegger’s Being and Time (or so we’re told), as if that dragged this circus into art. Hiorns says that he wants to get away from the formal aspects of art (colour, composition, style, and so on). He is currently working on the burial of a Boeing 737 beneath Birmingham that people will be able to visit, as if the idea of crashing to your death was not live enough. Yet the best of his work – Seizure, for instance – gathers its strength mainly through formal qualities. At the Ikon, he is also showing a series of paintings that appear to have been created in some kind of body fluid, flesh-coloured youths caught in a dance of death on large black canvases. Yet they are also making love, writhing and twisting and kissing with a balletic grace. These fleurs du mal are an antidote to the densely factual strain in Hiorns’s work. And nothing in the show takes the mind closer to the relationship between man, machine and mortality than the desert of dust spreading across the gallery floor, rising and falling in miniature peaks. It is formed from the atomised particles of a passenger plane, and it irresistibly proposes those mountain tops and barren landscapes where passengers fall to earth, a remote graveyard of the lost. Plenty of ideas, not enough art: that stands for Lucy Raven’s Serpentine Gallery show as well. Raven, born in Arizona in 1977, but now based in New York, works mostly with animation and optics; her movies have been shown all over the world. These animations are often composed of photographs in stop-start sequence – a stuttering, percussive performance at the Calder Foundation; photographs of offices; stills from television programmes. These are as boring as Raven wants them to be. She is even screening a constant barrage of TV test cards to make your eyes bleed (although the window blackouts have the unintended consequence of making Kensington Gardens look day-for-night). The main gallery has been turned into a cinema, in which visitors put on red and green anaglyph glasses to watch stereoscopic photographs appear momentarily 3D: a phenomenon shown to children in museums the world over. The most interesting work here is the ballet of light beams gliding and falling, parting and uniting as they sweep the walls and floor. After that, it is nothing but diminishing returns.
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The Guardian
From the archive: Roger Hiorns
On the occasion of his exhibition at London’s Corvi-Mora (through 28 July), ArtReview revisits its interview with the British artist. While Roger Hiorns’s exhibition is on show at London’s Corvi-Mora (through 28 July), ArtReview revisits J.J. Charlesworth’s interview with the artist, first published in its Summer 2016 issue. Hiorns discusses his (now completed) public site project for Bristol, The Retrospective View of the Pathway, and the complicated business of burying passenger jets... ArtReview Your new public sculpture, The retrospective view of the pathway, commissioned by Art and the Public Realm Bristol, is quite a challenging work for a city to commission. Roger Hiorns That’s true. This hasn’t happened straightforwardly. It’s a provocative, monumental work in a very conservative area. The factors of the work are very much based on the circumstances of the time of its making, within the timeframe of a very precarious social and economic reality – one that continues. So, how to behave? What is the identity of an artwork that seeks not to offer a platitude to an indifferent public? To not again be the ‘Marie Antoinette’ commission? Essentially, it was an open brief, a budget based on a legal stipulation that an artwork must be made [as part of the planning permission for a mixed-use architectural development on Bristol’s floating harbour]. A developer in receivership after the crash, and the ‘will and testament’ of the whole project under the guidance of PricewaterhouseCoopers – a sort of demi-government – and an insurance company. The architect Stephen Witherford is the last key to this work. And all these ingredients, these incomplete and complete conversations, led to the making of this type of work and what it looks like. It’s a social document and hectoring neighbour… AR It’s not so much a piece of sculpture as a public edifice with a potential function… RH It’s a piece of municipal architecture that was once called the ‘free tank’ – the free tank was a space, a ‘nook’ in the built-up bank of the river that allowed ordinary people access to its water. As it turns out, it’s one of the only spaces that Bristol City Council retains as a piece of public land. The surrounding area is identikit, postmodernist shiny surfaces of indistinct and instant architecture. I wanted to go against the lightness and the shallowness of those surroundings by introducing heavy concretes and black granites. It became about wanting to overincrease the density and overdo the balance of the area somehow. I wanted to introduce two forms that we can loosely call ‘furnaces’. But further to the inevitable object-making of sculpture, I wanted to change the laws that operate and maintain the space. I wanted to change the permissible activities within a space that seems so self-defined. So I thought it was interesting to talk to a nearby law firm about whether or not we could revise certain laws about permissible activities within this small area that aren’t usually allowed within this historically public space surrounded by privately owned space. AR What was the outcome? RH An absolute blank. Thoughts about how to present the body, put the human at the centre of the work for once, sadly were given little time. Ideas about public sexual identity, nudity… We didn’t get so far. AR These furnaces, they’re functional? RH There are two phallic chimneys made out of solid black granite, and then mounted into them as furnace mouths are two vulva openings. The forms are very simple and organic, but unusually monumental. They are about seven metres tall, transcendent in scale. They’re rare in their sophistication, and I wanted to encourage a scale that hadn’t been allowed or required from sculpture for a long time. And I wanted to offer an aesthetic timelessness, as if these were primary forms made by an earlier civilisation that wanted to celebrate a new god. Of course, I’m hypercritical about public art. It’s never a satisfying outcome, but sometimes one catches a work that transcends, an unexpected taste appears, usually by some accident, or by the intervention of an artist who was sophisticated enough to sidestep the usual expectation, to bridge that loose authority that maybe the museum or the gallery might still just enviously guard and maintain, to place something of human value into the area of the real and the everyday. AR But they work as furnaces? RH They somehow propose that the law firm could burn their paperwork inside them. Of course this is a mild irritation to the law firm. AR And that other people could use the furnaces? RH I can’t see why not, perhaps anyone can bring whatever they want to burn into this arena of stone and grey concrete. Of course, there will be prohibitions eventually put in place to stop this new idea, and I’m not even sure I disagree with that. The work proposes a loss of some public order that can’t really be sustainable for very long. AR Are you expecting this work to be unloved? RH I’m not expecting it to be entirely loved, no, but I do try to allow the work to be beautiful and transcendent, and this may be a challenge enough to the streamlined business and networking environment within which it rests. AR There are a lot of high-minded idealisms about what public art can achieve. This work doesn’t seem to want to entertain any of those… RH There’s a well-meaning idea about how art might be used to bridge a gap between, for example, civil society and a minority group, or an extra-defined cohort in the north that feel underrepresented, so that a large sculpture of an angel defines that deficit in material terms. Is an artwork necessary or is a transition into another mode of public representation now necessary? The monumentality of the Bristol work was about achieving something that supports and elevates the human. A taking a stand on your being is in play; if you increase the proportions, if you increase the densities of things, other things will tear, the surrounding framework will break. That was always the case with my work, that at some point there will be a resistance to individual freedom, and a breakage is then necessary. AR I’m curious about how you bring ritual into your work and how it has something to say about secular life, which is also part of this ambiguity we have about everyday modern, rationalistic life. It exists under the sign of secular society; there’s no more deity, there’s no more afterlife, there is only the business of getting on with living in a modern and technological world, in a material, human body. So when you’ve brought in ritual, it’s under the sign not of religion but of something that at its bare essential was the antithesis of secular life. You’re currently working on a performance for Birmingham Cathedral in June… RH Well this is fascinating, because this then becomes about authority. The reason why I’m interested in this is that I’m not using the obvious materials of plastic and performance. AR You’re using the choristers of Birmingham Cathedral – as a ‘material’? RH Yes, I’m using religion and sermon and Evensong. Two Evensongs, Wednesday and Friday. The full choir – these children and the adult choir – will be essentially scattered, lying flat on their back, dispersed, atomised through the cathedral. They will be unarranged. They will be singing in the same fashion that they would be if they were as a choir but occupying the cathedral in a way that has not happened before. It’s a simple work that uses the medieval Evensong as a starting point. Again, a longestablished foundation stone of ritual in our society is revisited, grown upon, perverted. AR What’s troubling and interesting about a lot of what you have done is that the idea of activity and energy is somehow at stake. The idea of inertia becomes a big deal. Seizure (2008), for example, took a living space – a derelict council flat – and coated it with blue crystals, grown by filling the flat with copper sulphate solution. An inorganic process. The project you’re working on for Ikon in Birmingham for the next year is to bury a Boeing 737 and install a passage from the surface down directly into the passenger cabin of the plane… RH A global network of buried planes is an ambitious plan. It’s interesting with the aeroplane, because I think that it is almost like the layering of clichés: it’s an incredibly literal work. There is something that I found really fascinating in pushing that literalness and continuing to push it to see what would happen. So we take the idea of a burial, and we take the idea of a piece of global technology, an aeroplane, and we put it under the ground. Then we allow the individual to become a part of this equation too. It’s already an overwhelming proposition. As an artwork, it’s allowing a generosity that is perhaps unusual; it allows for the displacement of the artist, and in my place comes the viewer. This work is not about me. I don’t paint, I’m not somebody who is following a tradition of technique. I’m following a tradition of manipulation. I’m also thinking about the self, the person who wants to be involved, to be in the work of art, because they are the conclusive part of the work. It was a very similar situation with Seizure: the human was the conclusive part of the work – the reaction of the human within the work was a factor in the completion of the work. There was often a personal significance for the visitor to the environment that I couldn’t access. There were people who wanted to have sex in Seizure, or you would have a prayer group who would join hands and start praying – there was a level of human activity not usually encouraged to emerge in a work of art, and so this all seemed new and essential and real. Back to the plane: I thought about the ramping up of anxieties, the ramping up of tensions, the claustrophobia of the aircraft, the symbolism of the craft, the fact that it’s buried, the fact that you’ll be funnelled into this thing under the ground… When I think about the work and when I make the work in the studio, I’m thinking about a time in the future rather than a time in the present, where a more successful or more interesting or more dynamic language would occur that actually might be able to retranslate the rather flat present day into another dimensional vision. So if we anticipate the next future, if we anticipate the next language, it comes with the idea of the neurological more than anything. It’s about the understanding in the brain. If we understand the brain and its working. AR The attention to ritual in many of your works that include and require participation in some ways suggests the control and regulation of experience by certain forms of administration and power. How does that intimate a future, if at all? RH Well, the language of the future is a disestablishment language, a language actively disentangling the established codes of the present. We need a new language that focuses on our natural ability to deconstruct and neutralise threats. Together we can grind off the edges of our hardened experience of the world. Over the last 15 years we have invited ourselves into a situation that is not a fair representation of real freedom. Our current version of liberalism, neoliberalism if you like, is not a project for the elevation of all humans, and for humans to feel the eventual possibility of emancipation, to become a valued being in the world. So we have established authorities offering us a ‘capped’ freedom, a governing class who think a society where every human is sufficiently free and with an endless possibility of self-determination would represent a society that’s difficult to manage, difficult to trust to behave. It’s important not to be a manageable human, a good contemporary definition of an artist. AR So again, ritual comes up as a spectre of… RH …control AR Or a caricature of a problem that’s not properly acknowledged in our current culture, which is the proposed notion of individual liberty, but the anxiety that liberty needs some… RH …conditions. So these conditions have to be inherent within the work, because in a way they have to offer the container. As an artist, you don’t want to just make the objects, you want to make the context. An artwork can’t survive on its own. So you have to do some work to alleviate the pressures that will add to the demise of the new work, so it survives into the future… You have to contain the world, distil its primary contents, to allow the work to survive in its own novel language. An artist isn’t only designing or making artworks. An artist is more importantly allowing or establishing new versions of behaviour, new worlds. These works are an amalgamation that allows a greater work to occur. It’s important to say that these works propose moods and feelings rather than ideas. So when we talk about mood, it’s a focusing on a level of contemporary dread and anxiety, which are not entirely wonderful things to bring into the palette of what we’re trying to do with contemporary art at the moment, but useful motivations towards an absence… AR An absence of…? RH Well, an absence of the human. I think the human hasn’t been put at the centre of art for a long time. I think that to some degree the callous shininess that is the contemporary artworld is almost designed as an exclusion of the human. I think that maybe it’s interesting to be contrarian to the established root that seems to occupy people’s minds. This economic preoccupation within the artworld, where things are shiny and callous, is probably a reflection of the new type of collector, and the texture of their limited attention span. AR I wanted to discuss your contribution to the artist-curated show History Is Now, at the Hayward Gallery last year, a decade-by-decade picture of Britain in the postwar period. Unlike the other sections, which treated their decade through the history of artworks, you took a different approach: an informational presentation on an issue that had very little to do with contemporary art – the history of the ‘Mad Cow Disease’ epidemic, which took hold in the late 1980s and became a big political issue in the mid-90s, because of the fear that it might spread from cattle to humans (as variant Creutzfeldt Jakob Disease, or ‘variant CJD’). It was a quite a bold gesture within the usual habits of museum and art-gallery presentation. RH The presentation of documentation and a timeline of archive material was the most important aspect, and yes, it was blunt, and tough to experience. In making the variant CJD show, I think it was really the pathology of variant CJD that fascinated me most: this story of the prion (a misshaped protein), the way that it can readapt brain matter in a human body to replicate itself and thus to disassemble the brain, turn it into a spongelike material – an agent of fundamental physical and mental destruction. Again, actually to talk about mood, in terms of the allowance of dread as a translator within an art frame. We’re in this constant state of self-denial and delusion. The artworld seems to be a road map of delusion right now, and I think it seems to be worth considering the breakup of this delusional unreality by dropping in an increased amount of reality. The fact that the variant CJD material presents itself as an artwork allows it a certain type of status, and that status allows it a unique and enduring position in the world. The artworld context allows the subject matter to become active again. It’s as viable an artwork as a Richard Long stone circle, and somehow it operates on the terms of an established art-history, but what is radical about the work is that it collects and represents and then displays power and the operation of power against the human. The CJD section of History Is Now displayed a tapestry of aggressive will against the human on an unprecedented scale, and the repercussions are only now being understood. The work provoked a reaction, a pushback, bringing the story back to the public realm, delivered to our future selves. Most of the time this never happens, we are awash with artworks that are passive, studio-made, salon-hung, clerks to a regime of material wealth and cynical boredom. This approach seems to me the future in my approach to making artworks: we can learn to use and reutilise the value that people still think is somehow present within art as a force to reinvigorate human potential. Over the last ten years the fascination with the art market, with spectacle, with short-term thinking has effectively closed down this long-constructed, uniquely liberal and international space for progressive thinking to occur and be enacted upon. AR Seems to be that you’re pointing to the idea that art does have some use, but it’s just not what we think it is any more. RH Perhaps we’re seeing the last market artworks being made, or performed. I think the journey towards the last artwork is a fascinating problem for me, or anyone, to consider.
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Roger Hiorns 1975 Born in Birmingham
 Lives and works in London Education 1991 - 1993 Fine Art Foundation, Bournville College, Birmingham, UK
 1996 BA Fine Art, Goldsmiths College, London Solo Exhibitions 2016-2017 Ikon Gallery, Birmingham, UK 2016 Christians, Annet Gelink Gallery, Amsterdam, NL 2015 Rudolfinum Gallery, Prague, CZ Corvi-Mora, London, UK Centre PasquArt, Biel, CH 2014 – 2023 Seizure: Yorkshire Sculpture Park, United Kingdom, UK 2014 Luhring Augustine, New York, NY, US The Hepworth Wakefield, Wakefield, UK Annet Gelink Gallery, Amsterdam, NL 2013 Firstsite, Colchester, UK 2012 De Hallen, Haarlem, NL MIMA, Middlesbrough, UK Corvi-Mora, London, UK Hayward Gallery, London, UK Marc Foxx, Los Angeles, USA 2011 Annet Gelink Gallery, Amsterdam, NL 2010 Aspen Art Museum, Colorado, USA The Art Institute of Chicago, Chicago, USA 2009 "Turner Prize", Tate Britain, London, UK Marc Foxx, Los Angeles, USA 2008 Corvi-Mora, London, UK "Seizure", Harper Road, An Artangel/Jerwood Commission, London. Since 15/06/13 on view at the Yorkshire Sculpture Park, UK 2007 The Church of Saint Paulinus, Richmond, North Yorkshire, Glittering Ground, Camden Arts Centre, London, UK Marc Foxx, Los Angeles, USA 2006 Cubitt Gallery, London, UK Milton Keynes Gallery, Milton Keynes Galerie Nathalie Obadia, Paris, FR Corvi-Mora, London, UK 2003 Corvi-Mora, London, UK
 UCLA Hammer Museum, Los Angeles, USA
 Art Now, Tate Britain, London, UK
 Marc Foxx, Los Angeles, USA 2001 Corvi-Mora, London, UK Group Exhibitions 2019 The Aerodrome - An exhibition dedicated to the memory of Michael Stanley, Ikon Gallery, Birmingham, UK NOW, Scottish National Gallery of Modern Art, Edinburgh, UK 2018 ROBOT LOVE, Melkfabriek, Eindhoven, NL 2017 In Motion: Ceramic Reflections in Contemporary Art, Princessehof, Leeuwarden, NL The Meantime, Museum Voorlinden, Wassenaar, NL 2016 Theatre Dreams of a Beautiful Afternoon - Part 2, Manifesta Office, Amsterdam, NL 2015 Strange Pilgrims, The contemporary Austin, Jones Center, Laguna Gloria, Visual Arts Center, Austin, US The Forces Behind the Forms; Geological History, Matter and Process in Contemporary Art, Galerie im Taxispalais, Innsbruck, AT Carte Blanche to Luhring Augutine, Galerie Patrick Seguin, Paris, FR Äppärät, Ballroom Marfa, Texas Periodic Tales: The Art of the Elements, Compton Verney, Warwickshire Birmingham Show, Eastside Projects, Birmingham, England The Noing Uv It, Kunsthall Bergen, Bergen, NL History Is Now, Hayward Gallery, London, UK Indeterminacy, Large Glass, London, UK Lustwarande ’15 - Rapture and Pain, park De Oude Warande, Tilberg, NL Rare Earth, Thyssen – Bornemisza Art Contemporary, Vienna, Austria Blue Times, Kunsthalle Wien, Vienna, Switzerland 2014 A Screaming comes Across the Sky, LABoral Centro de Arte, Gijon, ES On The Devolution Of Culture, Rob Tufnell, London, UK In_We Trust: Art and Money, Colombus Museum of Art in Ohio, US Do It Moscow, Garage Center for Contemporary Culture, Moscow, RU Through My Eye – Artist Portraits, Annet Gelink Gallery, Amsterdam, NL The Great Acceleration , Taipei Biennial, Taipei Fine Arts Museum, Taipei, TW Making Colour, The National Gallery, London, UK Quiz, Galeries Poirel, Nancy, FR Body and Void: Ecgoes of Henry Moore in Contemporary Art, The Henry Moore Foundation, Perry Green, UK Private Utopia: Contemporary Works from the British Collection, Tokyo Station Gallery, Tokyo, JP; Itami City Museum, Itami, JP; Kochi Museum of Art, Kochi, JP; Okayama Museum of Art, Okayama, JP 2013 Dread, De Hallen, Haarlem, NL The Encyclopedic Palace, curated by Massimiliano Gioni, Arsenale, 55th Venice Biennale, Venice, IT Folk Devil, David Zwirner, New York, USA The World is Almost Six Thousand Years Old: Contemporary Art and Archaeology from the Stone Age to the Present, Lincoln Cathedral, Lincoln, UK Days in Lieu, David Zwirner Gallery, London, UK 2012 Courtship of the Peoples, Simon Oldfield, London, UK Smith’s Row, Bury St Edmunds, UK VIP Showroom, Annet Gelink Gallery, Amsterdam, NL Common Ground, Public Art Fund, City Hall Park, New York, NY News from Nowhere, firstsite, Colchester, UK The Lot’s Wife, Salisbury Arts Centre, Salisbury, UK Out of Control, curated by Lynne van Rhijn, Nest, Den Haag, NL Higher Atlas (Exhibition), Marrakech Biennale 4th Biennale, Marrakech, MA 2011 The Sculpture Show, Scottish National Gallery of Modern Art, UK September 11, MoMA PS1, New York, US British Art Show 7: In the Days of the Comet, Hayward Gallery, London, UK The Shape of Things To Come: New Sculpture, Saatchi Gallery, London, UK British Art Show 7: In the Days of the Comet, Hayward Gallery, London, UK Dystopia, CAPC Musée d'Art Contemporain, Bordeaux, FR 2010 Art of Ideas: The Witching Hours, Birmingham Museum and Art Gallery, Waterhall Gallery, Birmingham (cat), UK British Art Show 7: In the Days of the Comet, Nottingham Contemporary, Nottingham, UK Profusion", Calke Abbey, Derbyshire, UK Gerhard Richter and the disappearance of the image in contemporary art, Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence, IT Crash, Gagosian Gallery, London, UK 2009 Marc Foxx, Los Angeles, USA The Knight's Tour, De Hallen Haarlem, NL The Quick and the Dead, Walker Art Center, Minneapolis, USA 2008 A Life of Their Own, Lismore Castle Arts, Co. Waterford, IR Galerie Diana Stigter, Amsterdam, NL Busan Biennale, Busan, KR Legende, Centre d’ Art Contemporain, Charamande, FR Run Run, The Collins Gallery, University of Strathclyde, Glasgow, UK Thyssen-Bornemisza Art Contemporary as Aleph, Kunsthaus Graz, Graz, AT Stain Pattern, Annet Gelink Gallery, Amsterdam (curated by Glenn Sorensen), NL 2007 If Everybody And an Ocean. Brian Wilson an Art Exhibition, CAPC Musée d'art Contemporain, Bordeaux, FR Fusion Now! More Light, More Power, More People, Rokeby, London, UK Grit and Vigor, Licht & Sie, Dallas, USA Destroy Athens, 1st Athens Biennial, Athens, GR Insubstantial Pageant Faded, Western Bridge, Washington, USA Ultramoderne, Espace Paul Wurth, Luxembourg, LU Good Morning, Midnight, Casey Kaplan, New York (curated by Bruce Hainley), USA Still Life, Meadow Gallery, Hanbury Hall, West Midlands, UK Sculpture Biennale, Jesus College Cambridge, UK You Have Not Been Honest, MADRE, Naples, IT If Everybody And an Ocean. Brian Wilson an Art Exhibition, Tate St Ives, St Ives, UK Echo Room, Alcalá 31, Madrid, ES 2006 Corvi-Mora, London, UK How to improve the World; 60 Years of British Art, Hayward Gallery, London, UK (The Arts Council Collection)
 Le Retour de la Colonne Durutti, Isabella Bortolozzi, Berlin, DE
 Refract, Marc Foxx, Los Angeles, USA 2005 Jaybird, Galleria Zero, Milano, IT
 British Art Show 6, BALTIC Centre for Contemporary Art, Gateshead, UK (touring exhibition organised by the Hayward Gallery)
 The Way We Work Now, Camden Arts Centre, London, UK
 ETC., Le Consortium, Dijon, FR
 Le Voyage Interieur, Paris-London, Espace EDF Electra, Paris, FR
 Sculpture new spirit, Galerie Nathalie Obadia, Paris, FR
 Marc Foxx, Los Angeles, USA
 Sculptures d'Appartement, Musee Departemental d'Art Contemporain, Rochechouart, FR
 Water Event by Yoko Ono, Migros Museum für Gegenwartskunst, Zürich; Astrup Fearnley Museet for Moderne Kunst, Oslo, NO
 Still Life, Museo de Arte de Lima, PE 2004 The Fee of Angels, Man in the Holocene, London, UK
 Trailer, Man in the Holocene, London, UK
 Reflections, Artuatuca Art Festival, Tongeren, BE (cat)
 The Futurians, Taro Nasu Gallery, Tokyo, JP (cat)
 Into My World, The Aldrich Contemporary Art Museum, Ridgefield, USA (cat)
 Still Life, Museo de Arte Contemporáneo, Rio de Janeiro, BR
 A Secret History of Clay, Tate Liverpool, Liverpool, UK (cat)
 Particle Theory, Wexner Center for the Arts, Columbus, Ohio, USA
 Daddy Pop, Anne Faggionato, London, UK (cat)
 Candyland Zoo, Herbert Read Gallery, Kent Institute of Art & Design, Canterbury, UK (cat) 2003 Help, Els Hanappe Underground, Athens, GR
 Honey, I rearranged the collection, 1a Kempsford Road, London, UK
 Hidden Agenda or Hide and Seek, ACME, Los Angeles, USA
 New Work, Corvi-Mora, London, UK
 Still Life, Museo Alejandro Otero, Caracas; Buenos Aires; Centro Cultural Parque de España, ES Rosario; Biblioteca Luis Angel Arango; Bogotá, CO
 Architecture Schmarchitecture, Kerlin Gallery, Dublin, IR 2002 Still Life, Museo Nacional de Bellas Artes, Santiago, CH; touring British Council exhibition (cat, text by Ann Gallagher)
 The Galleries Show: Contemporary Art in London, The Royal Academy of Arts, London, UK
 The Dirt Of Love" The Mission, London, UK
 Shimmering Substance, Cornerhouse, Manchester, UK
 The Ink Jetty, Neon Gallery, London, UK
 Shimmering Substance, Arnolfini, Bristol, UK (cat)
 Exchange, Richard Salmon Gallery, London, UK 2001 Neon Gallery, London, UK Looking With/Out, East Wing Collection, Courtauld Institute of Art,London, UK
 Modern Love, Hobbypop Museum, Dusseldorf, DE 2000 Corvi-Mora, London, UK
 British Art, Diehl Vorderwuelbecke, Berlin, DE
 Shot in the Head, Lisson Gallery, London, UK
 Heart and Soul, Sandroni Rey, Venice, IT Point of View, Richard Salmon Gallery, London, UK
 ...comes the spirit, Jerwood Gallery, London, UK
 Tim Gardner, Roger Hiorns, Jason Meadows, Glenn Sorensen, Corvi-Mora, London, UK 1999 Roger Hiorns, Enrico David, Clare Stephenson, Transmission Gallery, Glasgow, UK
 newBuild, Platform Gallery, London, UK
 Heart and Soul, 60 Long Lane, London, UK
 Manufacturers, Paper Bag Factory, London, UK
 The Great Hall, Bury St Edmonds Art Gallery, UK 1998 Resolute, Platform Gallery, London, UK
 True Science, Gallery K, Hamburg, DE
 Cluster Bomb, Morrison Judd Gallery, London, UK
 Super Nature, Studio A, London, UK
 Micro, Hales Gallery, London, UK 1997 Olympic Village, Transmission Gallery, Glasgow, UK
 European Couples and Others, Transmission Gallery, Glasgow, UK
 Latest Acquisitions, Bund, Kensington, London, UK
 Through the Looking Glass, Channel Four Television, London, UK
 Gang A Bong, Goldsmiths College, London, UK Projects 2006 Performance of the monologue 'Benign', Serpentine Gallery, London, UK 2005 Merce Cunningham Dance Company; Event, Barbican, London, UK Curated Exhibition 1999 "Heart and Soul", 60 Long Lane, London, UK Monographic Publications 2015 “Roger Hiorns”, Verlag fuer moderne Kunst, Biel, DE 2013 “Roger Hoirns”, De Hallen Haarlem, NL 2008 "Seizure: Roger Hiorns ", Artangel, UK 2006 "Roger Hiorns", Cornerhouse Publications, Milton Keynes Gallery, UK Other Publications 2015 “History Is Now: 7 Artists Take ON Britain”, Hayward Publishing, London, pp. 129-151 2014 British Council (ed.), “Private Utopia: Contemporary Works from the British Collection”, The Asahi Shimbun, Japan, pp. 72-73 (cat) 2013 Massimiliano Gioni, "Il Palazzo Enciclopedico", Fondazione La Biennale di Venezia (cat) Hans Ulrich Obrist, "DO IT, The Compendium", Independent Curators International, New York, p. 208 2012 “Sanctuary- British Artists and their Studios”, Thames & Hudson Publishers, London, pp. 194-199 2010 Henry Werner, "Modern Art For Sale: Les Plus Grandes Foires et Salons d’Art Au Monde", Feymedia, Dusseldorf, p. 169 "Contemporary Collecting: The Donna and Howard Stone Collection", Art Institute of Chicago, p.141 "Gerhard Richter and the disappearance of the image in contemporary 
art", Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence, Alias, pp.96-101 2009 David Bussel, "Looking at Display. Images of Contemporary Art in London Galleries", Rachmaninoffs, London, p.23 Christian Rattemeyer, Brian Sholis , "The Judith Rothschild Foundation Contemporary Drawing Collection: Catalogue Raisonne", The Museum of Modern Art, New York Hans Ulrich Obrist, "Experiment Marathon", Reykjavik Art Museum, Serpentine Gallery, Koenig Books, pp.66, 74-75, 112, 123, 137 "The Quick and the Dead", Walker Art Center, pp.222-223 "British Council Collection: Passports", British Council, Cover, pp.100-101 "Passports. In Viaggio Con L’Arte", Silvana Editoriale, Milano, pp.106-107 "Voids: A Retrospective", JRP Ringier, Zürich and Ecart Publications, Geneva, p.306 "Passports", British Council Collection, British Council, London 2008 Tom Morton, "Expenditure", Contemporary Art Exhibition, Busan Biennale, pp.146-147 Hans Ulrich Obrist, "Formulas For Now", Thames and Hudson, p.86 Alexis Vaillant, "Legende", Sternberg Press, Berlin "Semaines, Digestive System", Analogues, Les Presses du Reel, pp.37-48 "New Perspectives in Sculpture and Installation", Vitamin 3-D, Phaidon, pp.150-151 2007 Judith Collins, "Sculpture Today", Phaidon, pp.202-203 "You Have Not Been Honest", Cornerhouse Publications, British Council "Destroy Athens", 1st Athens Biennale, pp.158-159 "Voids", Centre Pomipdou, Kunsthalle Bern, JRP Ringier 2006 "Frieze Projects, Artists' Commissions and Talks", Thames & Hudson, London, p.98-99 2005 Alex Farquharson, "Brian Wilson: An Art Book", Four Corners Books 2004 "Do It", edited by Hans Ulrich Obrist, Revolver and e-flux
 "Now and Then", Tate Publishing, Tate Britain, London, pp.30-35
 "Reflections", Artuatuca Art Festival, Tongeren, Belgium
 "The Futurians", Taro Nasu Gallery, pp.18-21 & 33
 "Into My World", The Aldrich Contemporary Art Museum Publications, pp.28-31
 "A Secret History of Clay: from Gauguin to Gormley", Tate Publishing, Tate Liverpool, p.18, 86
 "Daddy Pop - The Search for Art Parents", Anne Faggionato, London, pp.17-18, 59 2003 "Still Life", Cornerhouse Publications, The British Council, pp.13-14, 39,95 2002 Matthew Arnatt, "100 Reviews 2002", Alberta Books, London
 "Shimmering Substance" and "Viewfinder", Cornerhouse Publications, Arnolfini, Bristol, UK 1998 "The New Neurotic Realists", Saatchi Gallery Publications, London Bibliography 2015 Martin Colin, “Exhibition – UK Government’s Handling of Mad Cow Disease”, Lancet, 24 March 2014 Mark Brown, “Yorkshire Sculpure Park Named UK Museum of the Year”. Guardian, 9 July Campos Seijo Bibiana, “Chemistry and Art”,, 1 July Nick Clark, “Museum of the Year Award: Sam Mendes Presents Yorkshire Sculpure Park with Prize”, The Independent, 9 July Andy Extance, “Beyond Water”,, July “First New York Solo Show for Roger Hiorns at Luhring Augustine”,, 12 August Jonathan Jones, “Making Colour at the National Gallery, London”, Guardian, 18 June Pes Javier, “Yorkshire Sculpure Park Wins Top Museum Prize”,, 10 July James Pickford, “Yorkshire’s Open Air Gallery Wins Museum Prize”,, 9 July 2013 “Schuim en as en kerkgezang”, Metropolis M, February Roos van der Lint, “Steek je hand in een vriezer en verlang naar blauwe sneeuw”, De Groene Amsterdammer, January 31 Tessa Verheul, “ Over lichamen, organen, hersenen en kristallen”. Tubelight, January-February Dominic van den Boogerd, “ Roger Hiorns”, De Witte Raaf, January-February 2012 Sharon Mizota, “Taking flight with abstraction: Roger Hiorns at Marc Foxx Gallery”, The Los Angeles Times, July 13 Charlotte Higgins, “Roger Hiorns’ Turner Prize-nominated artwork, Seizure escapes demolition”, The Guardian, July 6 Anne Berk, ”De alchemist”, fd persoonlijk, December 22 Hans den Hartog Jager, “Hiorns is de brenger van het vuur”, NRC Handelsblad, December 6 “Roger Hiorns”, 200percentmag, December 4 Jan Peter Verhagen, “ Op zoek naar de niet-controle”, Tubelight, February 29 Natasha Hoare, “Roger Hiorns”, Elephant, #12 2011 Roos van Put, “British Art Show terug in Londen”, Kunstbeeld, April “Roger Hiorns smuggles anti-psychotic drugs into US Air Force Aircraft for Sculpture Show”, Culture24, December 9 Coline Milliard, “ Artist Roger Hiorns on post-9/11 Life, and Why He Would Like to Bury a Jumbo Jet”, Artinfo, December 8 Roberta Smith, “Three Ways to Look Back, None Easy”, The New York Times, September 11 Frits de Coninck, “Het geheugen van de materie”, fd persoonlijk, January 29 Nicola Bozzi, “Roger Hiorns”, Artslant, January 24 Kees Keijer, “ Kunstwerken van badschuim en koehersenen”, het Parool, January 24 Sandra Smallenburg, “Deze koe heeft mij met eigen ogen gezien”, NRC Handelsblad, January 14 J.J. Charlesworth, “Hoe te overleven als kunstenaar”, Metropolis M, January 2010 "British Artist Roger Hiorns Creates Sculpture for Art Institute",, May 13 "Review: Roger Hiorns/Art Institute of Chicago", Newcity Art, May 10 J.J. Charlesworth, "It’s So Predictable", Art Review, January/February, p.32 Alexis Vaillant, "Looking Back: Solo Shows", Frieze, January/February, pp.87-89 James Rondeau, "Looking Back: Solo Shows", Frieze, January/February, pp.87-89 2009 "Anti-Hirst; How Artist Roger Hiorns Became Britain’s Most Interesting Artist",, December 5 Yaji Huang, "Art Star: Roger Hiorns", Contemporary Chinese Art News, December, Number 59, p.124 Bruce Millar, "Roger Hiorns. The Master Alchemist Discusses His Work", The Art Newspaper, October 15, p.11 Jo Steele, "An Egg and Moon Race for the Turner Prize", Metro, October 6, p.11 Steve Pill, "Putting and End to the Shock Tactics", Metrolife, October 6, pp.30-31 Tom Lubbock, "Are We Losing the Art of Surprise?", The Independent, October 6, p.12 Adrian Searle, "Here Comes the Egg Men", The Guardian, October 6, pp.20-21 Ben Hoyle, "History Repeats Itself as Late Addition to the Turner Prize proves a Little too Diverting", The Times, October 6, p.15 Richard Dorment, "The Favourite Versus the Dazzling Outsider", The Daily Telegraph, October 6, p.31 Jeremy Deller, "Ingredients for a Turner Prize – Dust, Bones and a Freeze-Dried Cow Brain", The Guardian, October 6, p.15 Rashid Razaq, "Ashes to Ashes…Dust, Skulls and Cow Brains on the TurnerPrize Shortlist", Evening Standard, October 5, p.3 Alexa Baracaia and Jessica Holland, "The 20 Hottest Art Shows This Autumn", The London Paper, September 8, p.14 Steven Stern, "The Quick and the Dead", Frieze, September, pp.134-135 Charlotte Higgins, "Crowd Pleasers Dominate Turner Shortlist", The Guardian, April 29, p.13 Ben Hoyle, "The Draughtsman, Surrealist, Graffiti Artist and Alchemist Who Rescued The Turner Prize", The Times, April 29, p.2 Jane Ure-Smith, "The British Council’s Collection is Home at Last",, March 9 Bethany Halford, "Concocting a Crystalline Lair", Chemical & Engineering News, January 5, pp.30-31 Nancy Princenthal, "Roger Hiorns Artangel and Corvi-Mora", Art In America, January, p.122 2008 Gilda Williams, "Review: Roger Hiorns", Artforum, December, pp.331-332 Stefano Collicelli Cagol, "Seizure", Domus, December William Wiles, "Review: Seizure", Icon Eye (Icon Magazine 065 Online), November Oliver Gili, "Last Chance to See: Seizure by Roger Hiorns", Londonist, November 24 Hugh Pearman, "My Blue Heaven", The Sunday Times, November 9 Paul Carey-Kent and Vici MacDonald, "Roger Hiorns", Art World, October/November, pp.88-90 J.J. Charlesworth, "Voodoo Modern", Art Review, October Jonathan Jones, "Don’t Miss Seizure, the Blue Crystal Wonder", The Guardian Blog, October 29 Alice Rawsthorn, "Ceding Control to a World of Random Beauty", International Herald Tribune, October 13 Beena Nadeem, "Room With a Magical View", Inside Housing, October 3 Liz Hoggard, "Rhapsody in Blue Crystal", Evening Standard, September 30 Jonathan Jones, "Digital Cameras Give us Another Way of Enjoying Art", Guardian Blog, September 11 Richard Cork, "From Council Flat to Crystal Cave", Financial Times, September 5 Adrian Searle, "Don’t Forget Your Wellies…", The Guardian, G2, September 4, p.28 Helen Sumpter, "Chemical Brother", Time Out, September 4-10, p.54 Alastair Sooke, "Seizure: Neptune’s Grotto Shimmers in a Council Flat", The Daily Telegraph, September 3 Steve Pill, "He’s Having a Crystal Ball", Metro, September 3, p.39 Elizabeth Day, "Approach at Your Peril", The Observer, August 31, p.27 Catherine Croft, "Growing Crystals from Architecture", Building Design online, August 29 Brian Sholis, "Roger Hiorns: 500 Words",, August 28 Fiona Maddocks, "Crystal Method for Roger Hiorns", Evening Standard, August 26 Skye Sherwin, "The Asphalt Jungle: Artangel", ArtReview, July-August Alexander Kennedy, "The Art of Science", The List, Issue 600, April Martin Herbert, "1st Athens Biennale", Frieze, February, p.170 Junko Fuwa, "Roger Hiorns", Pen Magazine, Edition 214, p.62 & 63 Nuno Rodrigues, "Nuclear Fusion and Art's Fission", Mute Beta, January 30 2007 Jen Graves, “Not insubstantial”, The Stranger, Seattle, November 28 Justine Gaunt, “Roger Hiorns”,, November Katie Sonnenborn, “Good Morning, Midnight”, Frieze, October, p.275 Ossian Ward, “Handsome Young Doctor”, Time Out, August 10 Nikki Columbus, “Good Morning, Midnight”,, August Holland Cotter, “Good Morning, Midnight”, Art in Review: New York Matt Price, "Out There: Contemporary Artists from the West Midlands", New Birmingham Art, pp.32-33 Bruce Hainley, "Roger Hiorns", Artforum, March, pp.326-326 Mark Brown, "Wanted: crystal or council home", The Guardian, January 15 Jennifer Higgie, "Solo Show", Frieze, January-February, p.133 2006 Melissa Gronlund, "Monologue Nights", Frieze, October, pg.56 "Top 100 artists", Flash Art, October, pg 68 Michael Archer, "Best of British", Times Online, August 26, pg. 31 Morgan Falconer, "Talking, talking, always talking", Times Online, July 26
 Roger Hiorns, Frieze, June/July/August, p.209
 Richard Dorment, "Strange attraction of a maternal monster", The Telegraph, April 18 Alessandro Rabottini, "Jaybird", ArtReview, March, Volume 62, p.126
 Andrew Marsh, "Roger Hiorns", Flash Art International, March/April, pp.114-115
 Antony Hudek, "Le Voyage Intérieur", Flash Art International, March/April, p. 54 
 Tom Morton, "Looking Forward", Frieze, January/February, p.124 Neil Mulholland, "British Art Show 6", Flash Art International, January/February, p.100 
 Jessica Lack, "Roger Hiorns", The Guide (The Guardian), January 14-20, p.36 2005 Nanda Janssen, "Sign of the Times", Mister Motley, p.76-77
 Roger Hiorns, "Questionnaire", Frieze, October, p.232
 Tom Morton & Catharine Patha, "Accidents Never Happen", Frog, Issue 1, Spring, pp.52-55
 Martin Herbert, "Roger Hiorns", Time Out, January 4 2004 Craig Burnett, "Pick of the Week", The Guardian, December 6, p.14
 Xavier Dourox, "Retour de Présence", Zero Deux No.31, Autumn, pp.14-15
 The Future, Issue One
 Grace Glueck, New York Times, August 27
 Emma Crichton-Miller, "Feats of Clay", RA Magazine, Summer, p.20
 Melissa Nix, "Postmodern is passé", The Daily Yomiuri, July 29, p.18
 Usuki Naoko, "The Futurians", What's New 09, ART iT, p.18
 Tanya Harrod, "Serious play's feat of clay", The Times Literary Supplement, July 23, p.1
 Morgan Falconer, "Breaking the Mould", V & A Magazine, Summer
 JJ Charlesworth, "Roger Hiorns", Contemporary, Issue 64, pp.46-49
 "A Secret History of Clay : from Gauguin to Gormley", Tate, p.18, 21, 86
 "A Secret History of Clay", Ceramic Review, May/June, p.17
 "A Secret History of Clay", Art of England, May/June, p.10
 Philip Key, "Expect the unexpected", Daily Post, May 28
 Bill Mayr, "Ordinary materials viewed in new ways", The Columbus Dispatch, May 22, p. C1
 "What's On", The Art Newspaper, Issue 146, April, p.6
 Anne Martens, "Roger Hiorns", Flash Art, January/February, pp.110-111
 Dan Fox, "Roger Hiorns", Frieze, January/February, pp.94-95
 Martin Herbert, "Roger Hiorns", Artforum, January, p.166 2003 Morgan Falconer, "Contemporary Art", The Burlington Magazine, December, p.875
 Time Out Athens, 13-19 November, p.89
 Jessica Lack, "Picks of the week", The Guardian G2, November 10, p.18
 "Poetry Review", The Poetry Society, Autumn, pp.77, 83, 87
 Time Out, August 27 - September 3, p.53
 Richard Cork, "Fire and ice", New Statesman, August 11, pp.28-30
 JJ Charlesworth, "Roger Hiorns/David Musgrave", Art Monthly, April, pp.40-41 2002 Morgan Falconer, "The Galleries Show", Modern Painters, Winter, pp.142-143
 José Zalaquett, "Vida Quieta", Capital, November 22
 "Still Life", El Mercurio on Line, November 6
 Carlos Navarrete, "Límite y continuidad", Nuevo Diseno, 05, pp.62-65 JJ Charlesworth, "Sign and substance in recent sculpture", Artext, Fall, pp.36-43
 Tom Morton, "The crystal method", Frieze, October, pp.76-77
 Jörn Ebner, "Exchange", Frankfurter Allgemeine Zeitung
 Andrew Hunt, "Exchange and New Originals", Untitled, Spring, p.31
 Paco Barragán, The Art To Come, pp.126-127
 Ian Hunt, "Shimmering Substance", Art Monthly, June, pp.39-42
 Andrew Hunt, "Exchange", Untitled, Issue 27, p.32
 Sally O'Reilly, "Exchange", Frieze, May, pp.96-97
 JJ Charlesworth, "Exchange", Contemporary, April, p.114
 JJ Charlesworth, "Neon", Contemporary, March, p.94 2001 Morgan Falconer, Untitled, Autumn/Winter, p.32
 Michael Archer, Artforum, December, p.131
 Minnie Gastell, Donna, October, p.38
 Mark Wilsher, What's On, October 3, p. 24-25
 JJ Charlesworth, "Secret Secretions", Art Monthly, September, p.20-21 2000 JJ Charlesworth, "...comes the spirit", Art Monthly, June
 Claire Bishop, Evening Standard, May 26, p.66
 Helen Sumpter, Evening Standard, April 27, p.55
 Jonathan Jones, The Guardian, April 21
 Dan Crowe, Butterfly, Issue 5
 Jörn Ebner, Frankfurter Allgemeine Zeitung, No 84, April 8, p.54 1999 Michael Archer, Artforum, November, p.153
 Dave Beech, Art Monthly, November, pp.32-33
 Helen Sumpter, Evening Standard, October 8
 Lena Corner, ID Magazine, August, p.28
 J.J Charlesworth, Art Monthly, July/August, pp.33-35
 "The Saatchi Decade", Booth-Clibborn Publications 1998 Mark Currah, Time Out, August 26
 Keith Patrick, Contemporary Visual Arts, Issue 20
 Piers Masterson, Untitled Magazine, Issue 17, Autumn
 Michael Wilson, "Micro" Catalogue
 Jane Burton, "The New Neurotic Realists", The Express, June 6 David Lister, "Sorry Damien, However Hard You Try, You've Become Passé", The Independent, May 30 Collections Art Institute of Chicago, Chicago, IL Museum of Modern Art, New York, NY Tate Modern, London, England Walker Art Center, Minneapolis Frans Halsmuseum, Haarlem, NL Caldic Collection, The Netherlands Museum Voorlinden, The Netherlands KRC Collection, The Netherlands