Harry Turner's Episodes of Personal History
H.E.T. – Picture Catalogue 2    | HISTORY Page | Obituary Page |
The pictures are shown to a common scale of 10 pixels per inch unless otherwise indicated
Trapped Sun by Harry Turner
Trapped Sun, 1966,
20" x 30", acrylics on board
Sun Trap-1 by Harry Turner
Sun Trap-1, 1966,
24" x 18", acrylics on canvas

Sun Trap-2, 1966,
24" x 18",
acrylics on board
SOLD
Captured Sun by Harry Turner
Captured Sun, 1966,
20" x 30", acrylics on board

Sun Trap-4 by Harry Turner
Sun Trap-4, 1966/67, 36" x 24", acrylics on board
Apportionment #1 by Harry Turner
Apportionment-1, 1966, 36" x 24", acrylics on board

Apportionment #2 by Harry Turner
Apportionment-2, 1966, 36" x 24", acrylics on board
Apportionment #3 by Harry Turner
Apportionment #3, 1966, 36" x 24", acrylics on board

Kirk's Works by Harry Turner, 1966
Kirk's Works, 1966, 20" x 30",
acrylics on board
Apportionment #4 by Harry Turner
Apportionment #4, 1967, 40" x 30", acrylics on canvas

Fibonacci 1 by Harry Turner
Fibonacci 1, 1967, 40" x 30", acrylics on canvas
Fibonacci 2 by Harry Turner
Fibonacci 2, 1968/69, 40" x 29", acrylics on canvas

Dervish by Harry Turner
Dervish, 1967, 18" x 24",
acrylics on board
Blue Dervish by Harry Turner
Blue Dervish, 1968,
24" x 32", acrylics on board
Collection of LJT
Red Dervish,
1968,
18" x 24",
acrylics on board
SOLD
Green Dervish by Harry Turner
Green Dervish, 1971,
24" x 24", acrylics on board
Collection of RFT

Untitled paradoxical figure by Harry Turner
[Untitled paradoxical figure]
(1968?), 30" x 30", acrylics on board
Unit Structure by Harry Turner
Unit Structure, 1969, 36" x 36", acrylics on canvas
a.k.a. "Flawed Structure"
Red Progression-1,
1969,
24" x 18",
acrylics on board
Presented to Lisa Conesa

Red Progression-2 by Harry Turner
Progression From Red Centre, 1969, 36" x 36",
acrylics on canvas, a.k.a. “Red Progression-2”
Presented to Fran & Brian Varley
Red Progression variation by Harry Turner
[Red Progression variation],
36" x 36", acrylics on canvas

Subconscious Lee by Harry Turner
Subconscious Lee, 1969-70,
36" x 36", acrylics on canvas
Blue, Turning Grey Over You by Harry Turner
Blue, Turning Grey Over You,
1970, 22" x 30",
acrylics on canvas

Parker's Mood by Harry Turner
Parker's Mood, 1969-70, 36" x 36", acrylics on canvas

Torsion-1 by Harry Turner
Torsion-1, 1970, 20" x 30",
acrylics on canvas
Collection of MT
Torsion-2 by Harry Turner
Torsion-2, 1970, 20" x 30",
acrylics on canvas
Collection of MT

Four In One by Harry Turner
Four In One, 1970, 30" x 30", acrylics on canvas
MV Monte Umbe by Harry Turner (1973)
"MV Monte Umbe", 1973,
20" x 30", acrylics on canvas

Blue Bangor Boogie by Harry Turner
Blue Bangor Boogie, (1971),
36" x 36", acrylics on canvas
Bangor Boogie-Woogie by Harry Turner
Bangor Boogie-Woogie, 1971,
36" x 36", acrylics on canvas

Abstract design by Harry Turner
Abstract design, (1971),
10.9" x 14.3", watercolour on card
(double scale size)
Abstract design by Harry Turner
Abstract design, 1971,
11.6" x 16.4", watercolour on card
(double scale size)

Lester Leaps In by Harry Turner
Lester Leaps In, 1971,
30" x 30", acrylics on canvas
Blue Lester by Harry Turner
Blue Lester, 1971,
30" x 30", acrylics on canvas
Lester Variation by Harry Turner
Lester Variation, 1971,
30" x 30", acrylics on canvas

Planet 1 (1971) by Harry Turner
Planet 1 (1971),
24" x 24", acrylics on board
Planet 2 (1971) by Harry Turner
Planet 2 (1971),
24" x 24", acrylics on board

D.O.U.S.S. by Harry Turner
D.O.U.S.S., 1972, 40" x 60", acrylics on canvas. colour scheme:
light blue line on purple ground, circles from pink to purple.


While at Durham University Summer school, I saw and was impressed by this (see right) and other examples of Taoist calligraphy. Ch'i, the Cosmic Spirit, fills the world, giving life to nature, movement to water, energy to man: it is the centre of Taoist breathing exercises, involving the art of smell and burning of incense.
   The search for ways to represent ch'i visually accounts for abstract tendencies in the Chinese art of the period. The undulating movement of air filled with concentric rings of incense-smoke appears in both painting and callibraphy.
   And simultaneously, I was made aware of that mathematical paradox, the space-filling curve—a line that links all the points within a space and on completion, fills up the entire space. (The paradox? Well, since by definition a point lacks dimension and a line is uni-dimensional, there is no prospect of ever filling the space! Ugh.)
   The two things worked on my imagination. Take the space-filling curve; in its initial stages, the expanding inside of a square. Divide the squares into four and link the centre points of each (a). Use this as a module or basic unit and any number of modules can be linked to form larger shapes (b) and (c).
   We have a basic procedure capable of infinite extension. Variations in the linking points between the modules create irregularities in the overall pattern.
   Making the points into circles and inclining the links to capture something of the movement of Taoist "smoke whorls" creates an optical reaction by colour dazzle and spins the eyes flickering along the line with nowhere to rest. Vary the colour scheme, make the curve a closed system—and the eye wanders forever, held within the design.


"Diagram of Change" from the Taoist canon, attributed to the Chinese emperor Hui-tsung of the Song dynasty (b. 1082, ruled 1101-1125/6, d. 1135)


Unicursal Life-Line by Harry Turner
Unicursal Life-Line, 1972, 36" x 36", acrylics on canvas

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