Coley, Nathan - The Lamp of Sacrifice, 286 Place of Worship, 2004 - art postcard

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^{Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information (internal links may not  work) :}

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Nathan Coley (born 1967 in Glasgow, Scotland, where he currently lives and works) is a contemporary British artist who was shortlisted for the Turner Prize in 2007 and has held both solo and group exhibitions internationally, as well as his work being owned by both private and public collections worldwide.[2] He studied Fine Art at Glasgow School of Art between 1985 and 1989 with the artists Christine Borland, Ross Sinclair and Douglas Gordon amongst others. [3]

The use of found phrases and objects in Coley's work is explained by Tim Hunt, he states that Coley's isolation of these words: "relieves them of specific historical reality and relieves them of a specific historical reality and returns them as representations pitched between aphorism and haiku." [4]

Nathan Coley's most recent show entitled ‘The Future is Inside Us, Not Somewhere Else’ ended in 2019 at Parafin Gallery, Mayfair. The works on display there were also shown at Edinburgh Parliament Hall.[5] Alongside this exhibition, Nathan’s illuminated text ‘THE SAME FOR EVERYONE’ is currently placed on Cunnard Place in London, as part of the 9th edition of Sculpture In The City. [6]

In 2004, Coley exhibited at The Fruitmarket Gallery in Edinburgh. In Nathan Coley, the artist constructed a series of scaled down, cardboard replicas of all of the religious buildings in Edinburgh.[7] InLamp of Sacrifice, 286 miniature sites of worship are placed in direct confrontation with one another, exploring how religious buildings are characterised by competing social ideologies.

In 2007, Coley was nominated for the Turner Prize for his exhibition at Mount Stuart, Isle of Bute, the public installation Camouflage Church, Santiago de Compostela, Spain and his contribution to the group exhibition 'Breaking Step – Displacement, Compassion and Humour in Recent British Art' at the Museum of Contemporary Art, Belgrade, Serbia.[8] For his exhibition at Mount Stuart in 2006, Coley displayed an illuminated text, There Will Be No Miracles Here, on a scaffolding framework 6 metres (20 ft) high by 6 metres (20 ft) wide erected within the house's 18th century landscaped garden. Investigating the relationship between the rational and the spiritual, Coley's sculpture went on to be exhibited at Tate Liverpool and the Scottish National Gallery of Modern Art, where it became part of the collection in 2010.[9][10]

In 2010–2011, The Ballast Project was built for the Government Buildings Agency as a commission for the National Maritime Museum (Het Scheepvaartmuseum) in Amsterdam. This installation groups together a collection of bricks which were originally used as ballast for ships departing from the Netherlands for the West India Company during the 17th century.

In 2011, Coley exhibited at the ACCA (Australian Centre for Contemporary Art) in Melbourne. Appearances consisted of vast concrete platforms elevated off of the floor with adjoining steps. Inspired by Oscar Niemeyer's architectural designs, Coley's Landings]are characterised by a sense of theatricality which renders the viewer, or participant, aware of his or her interaction with the work.

In Memory is an installation which was created in 2011 in Edinburgh at Jupiter Artland. In Memory]consists of an enclosed, artificial graveyard on the edge of an area of Scottish woodland. By chiselling out the names on the salvaged tombstones, Coley draws our attention to the manner in which we invest architectural objects with individual meaning.

Coley's exhibition A Place Beyond Belief showed at Haunch of Venison in 2012 and included a range of photographic and sculptural work relating to the ritualised nature of protest and mourning. Included in the show was an illuminated, scaffolded text, A Place Beyond Belief, which was originally sourced from the testimony of a New Yorker describing a subway journey she made in the days following the 9/11 attacks. An edition of the work was also unveiled outside Kosova Art Gallery in Prishtina, Kosovo on the occasion of their independence from UN supervision .

Coley has had many international solo exhibitions including those at Centro Cultural de Belem, Lisbon in 2001 and Westfalischer Kunstverein, Munster in 2000. His work was also included in Days Like These, a group exhibition at Tate Britain in 2003, and his film Jerusalem Syndrome]was on view at the Cooper Gallery in Dundee in 2005.

Coley has been awarded with the Artist Award, Scottish Arts Council (2003, 1996), Henry Moore Fellowship (Duncan of Jordanstone College of Art, University of Dundee (2001), Creative Scotland Award, Scottish Arts Council (2001), Scottish Cultural Enterprise, 'Scotland's Year of the Artist,' Public Art Initiative Scheme, Scottish Arts Council (2000) and the RSA, Art for Architecture Award (1997).