Martin Creed has won the Turner Award that many artists dream of. Many people think he's a conceptual artist, but he doesn't think so himself.
Nomenclature of Works
His works are numbered, which he decided to do in 1987. There is nothing special about it. In particular, the name of his works is often a detailed description of the works themselves, such as:
No. 88, a sheet of A4 paper crumpled into a ball.
No. 159, there is something in the middle of the wall.
No. 200, Half the air in a given space in a given space;
Works 812, marker pen on paper;
No. 309, A sheet of paper torn up;
No. 264, two protrusions from a wall.

Half of the air in a particular space (air in a balloon accounts for half of the whole space).


One of the most notable of these is his 2001 Turner Prize winning work, which may be the first one to come to mind when people mention Matin Creed, entitled "Works 227, the lights going on and off".
Turner Award-winning Works: These Lights Will Blink and Blink.


This work looks like a large and empty room, the only thing that is moving and quiet is the neon lights flickering in that room - exactly the same as the title describes. Audiences can't see any clues except the title to prove this phenomenon.


This work attracted great attention from the British media at that time. The question they focused on was whether art could be called art even if it was so simple. What is the minimum of art? The most powerful response was the artist Jacqueline Crofton, who threw an egg on the wall of the neon room in protest. But the judges of the Turner Prize apparently have their own views on this issue, and Creed won the Turner Prize for this work.


On the day the Turner Prize was unveiled, there was a real uproar. Newspapers reported the event with headlines. This award was considered by many to be the most absurd one. In fact, this is not the first time Creed's work has caused such a controversy, because what Creed does is often to make very few art less. In the end, it was almost naked.


Creed's approach can be seen as a kind of deconstruction, a kind of ridicule and confrontation of "giving too much image, information, and meaning" in his works. The culture of commercial society is so noisy that we need to get out of these noises for a breath. At this time, to see such works as Creed is like a rainy day in drought. It's refreshing.


As an audience, you can continue the discussion of "where is the minimum of art". You can also deny that it is art, but one thing is for sure, it is a simple but absolutely not boring work.