Pi Artworks

About the Gallery
Pi Artworks is an international contemporary art gallery that nurtures a diverse, cross generational range of artists and fosters global dialogue. 

With locations in Istanbul and London, we are uniquely positioned as local in both Eastern and Western hubs, creating a platform for artists that reaches across the globe and allows for cross-continental creative relationships. 

Founded by Jade Turanli, Pi Artworks Istanbul emerged in 1998, with Pi Artworks London, subsequently founded in 2013. This allowed us to create a platform that champions artists globally, and  one where we proudly pursue our representation of artists who are pushing boundaries and challenging the status quo.

We create opportunities for cross-cultural exchange and collaboration between artists from the East and West,  in doing so, we believe we can create a deeper understanding of the complex issues facing our world. At Pi Artworks,  art is a powerful force for positive change and we aim to contribute to a more inclusive, equitable, and sustainable world.

About the Presentation
Pi Artworks, in collaboration with Vail Caldwell Projects, will present work by Jyll Bradley in a solo presentation at Independent 20th Century.

Since the late 1980’s Jyll Bradley has sought to examine notions of identity, urbanity, light, nature, queerness and community through a minimalist aesthetic, which she describes as ‘queering minimalism’. As a student at Goldsmiths College in London from 1985-88, Bradley’s contemporaries included many of the provocateurs of the Young British Artist Movement (the YBA’s) including Damien Hirst, Sarah Lucas and Angus Fairhurst among others. What distinguishes Bradley from her cohort is the serious pursuit of bringing ideas of identity to the formal language of minimalism.

Pi Artworks’, an international gallery with locations in London and Istanbul founded by Jade Turanli in 1998, presentation for Independent 20th Century allows visitors to experience this aspect of Bradley’s work, which offers an alternative vision of the 1980s and 90s, a more nuanced narrative than the shock and awe that was perceived to have defined the era. Bradley’s timely presentation of sculpture and photography – some works originating in the late 1980’s and exhibited only now for the first time - dovetails with a growing curiosity to understand the period more comprehensively and the wider group of artists working at the time of the YBAs. Her work also reveals a pertinent narrative that challenges the Queer image-making usually associated with this era.