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Thursday, 30 May, 2002, 11:19 GMT 12:19 UK
Turner profile: Fiona Banner
Banner's Stainless Steel Full Stops
Banner's Stainless Steel Full Stops
Born in Liverpool, Fiona Banner studied fine art at Kingston Polytechnic, and completed an MA at Goldsmiths College in London in 1993.

Her first solo exhibition was in 1994 at the capital's City Racing venue.

The possibilities of language - and its limitations - lie at the heart of her work.

The 36-year-old, who lives and works in London, creates text-based pieces, drawings, sculpture and sound, and she attempts to encapsulate action and time in a single form.

Concrete 2002 and Trixie 1999
Concrete Poetry and Trixie from Your Plinth is My Lap
Feature films form the source of most of her work. Her wordscapes - or "still films" - are blow-by-blow accounts of entire movies, retold in her own words.

Her 1994 work, The Desert, retells Lawrence of Arabia using a vast plane of text similar in scale to a cinema screen - or an expanse of desert.

Similarly, 1991's Point Break is an account of the car chase in the film of the same name. The letters and lines of text gradually condense to reflect the rising tension.

In 1997, Banner published The Nam, a 1,000-page book containing a continuous transcription of six Vietnam war films - Apocalypse Now, Born On The Fourth of July, The Deer Hunter, Full Metal Jacket, Hamburger Hill and Platoon.

Together with a 20-hour recording of the script, Banner attempted to construct a fantasy view of reality, aiming to make the action and violence meaningless.

Fiona Banner
Banner is heavily influenced by feature films
Recently, Banner's work has focused on the space between words. In 1998 she exhibited a series of giant full stops in various different fonts, carved out of polystyrene.

The viewer was forced to negotiate the full-stops which were placed on the gallery floor, intented to punctuate the space as they would a block of text.

Her recent show Your Plinth Is My Lap featured "space confusers" - large paper works cut into strips and hung away from the wall to resemble blinds.

Viewers could see them as both drawings and interactive objects.

'your plinth is my lap'
Installation at Dundee Contemporary Arts 2002
Foreground: Concrete Poetry 2002
Behind: Trixie 1999
Courtesy Frith Street Gallery, London

Stainless Steel Full Stops 2002
Installation at Neur Aachener Kunstverien
Courtesy Frith Street Gallery, London

Fiona Banner 2002
Portrait by: Andrew Dunkley, copyright Tate Photography
Courtesy Frith Street Gallery, London


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